EXERCISES
in
MELODY -WRITING
A SYSTEMATIC COURSE OF MELODIC COMPOSITION, DESIGNED
FOR THE USE OF YOUNG MUSIC STUDENTS,
CHIEFLY AS A COURSE OF EXERCISE COLLATERAL WITH
THE STUDY OF HARMONV
BY
PERCY GOETSCHIUS, Mus. Doc.
(Royal Wiirtembcrg Professor)
Author of
'The Material Used in Musical Composition"
'The Theoky and Practicb of Tone-Relations
'The Homophonic Fokms op Musical Covhositk
'Models of the Principal Musical Forms," ktc.
PREFACE
The object of this course of musical discipline is, to assist the voung
student (whether or not he expects to become a composer) to form and to
cultivate habits of correct melodic thought.
It is simply a carefully graded course of exercise in melody-invention, — nor
conception. The agencies which conduce to the transition from the former
into the latter are touched upon in paragraphs 125 to 129, which maybe briefly
scanned, here, without harm.
The reasons for urging such a course of technical practice upon students
of music (general, as well as special students) are two-fold:
1st, because the prime object of all theoretical study in music is, or should
be, melody. A thorough apprehension of the conditions of correct melody,
and command of its natural laws, pave the way to the full and easy reception
of all other phases of discipline in music ; they are the only natural preparation
for successful studies in sight-reading, harmony, counterpoint, form, instru-
mentation and interpretation.
2nd, because all musical practice, productive or reproductive, in common
with all other operations of mind and body, is the result of habit, and is there-
fore qualified exactly according to the quality and energy of the habits which
have been contracted, by accident or intention, in early life. The effort to con-
trol the formation of these habits, and guide them as early as possible into
proper channels, is therefore obviously the most valuable that a wise educa-
tional purpose can induce.
Whether there are laws governing melodic conduct, or not, is a question
to which an answer will be found in the book itself.
It is to be inferred from the above, that the best results will be gained by
beginning this course of excercise early in life. Not, however, as a rule, before
the twelfth or thirteenth year.
It may be pursued before Harmony is taken up, or entirely independent
of the latter. But it will probably prove most efficient as collateral study,
interlined between the excercises of any standard text book on Harmony; either
from the beginning, or in the later course of harmonic study; in regular alter-
nation with chapters of the latter, or interlined strictly according to subjects.
The degree of benefit to be derived, is manifestly proportionate to the
degree of thoroughness with which each lesson is exercised,-— precisely as pro-
ficiency in scales of any other item of pianoforte technique depends upon the
number of times each movement is thoughtfully repeated. It is a system of
drill, which must be persisted in until its aim, — the fixing of habits, — is
achieved. For this reason, the course should cover a full year.
The musical illustrations have been made unusually copious, because this
particular phase of musical education is likely to be absorbed by the pupil
quite as readily through sensuous contact with melodic sounds, as by mental
induction. Therefore, they are to be studied as faithfully as the text, both at,
and away from, the keyboard.
Percy Goetschius, Mus. Doc
Boston, Mass.
September, 1899.
EXERCISES IN MELODY-WRITING.
DIVISION ONE.
ESSENTIAL TONES.
CHAPTER I.
MAJOR. THE SCALE-LINE, REGULAR.
1. Any series of single tones is a Melody. The quality of the melody
depends upon the choice and duration of each successive tone. The general
conditions of good melody are:
Coherency, throughout each chain of three or four
successive tones;
Unity, in the design and effect of the complete
melodic sentence; and
Interesting movements, exhibiting sufficient variety to banish every trace of monotony.
2. The choice of successive tones (aside from the question of durations)
is subject, fundamentally, to two Primary Rules of melodic movement.
First Primary Rule.
3. A melody may follow the line of the
MAJOR SCALE,
upward or down/ward, with almost
unlimited freedom.
This yields the smooth species of movement called diatonic, conjunct,
or step-wise progression.
4. Step-wise progression are regular, and consequently invariably per-
missible, when they confirm the natural or inherent melodic inclination of the
so called Active scale steps (par. 6)
5. The seven steps of every scale are divided into two classes:
The 2st, 3rd and 5th scale-steps (thos which constiture the Tonic
Triad, or harmonic core of the key, see par.18) are Inactive They occupy
the center of harmonic repose, and are therefore inert, not moving except in
obedience impulse to regain the condition of rest. For illustration:
6. The direction and the degree of urgency, of the movement are
dictate by the location of each Active scale-step, and its proximity to the
nearest inactive or central scale-step, -- as follow:
(a) The tendency is most urgent in the 7th scale-step and its direction is
upward.
(b) The tendency is somewhat less urgent in the 6th step, and its direction
is downward.
(c) Still less urgent in the 4th step, and its direction is downward.
(d) The inclination of the 2nd scale-step is evenly balanced between the 1st and 3rd steps,
from which it is (practically) equally distant. For that reason it need not be considered in this connection
For illustration:
7. The progression of an Active scale-step in tho proper direction is
called its Resolution.
General illustrations:
See also, Ex. 5; Ex. 18. No. 3; Ex. 36, No. 12; Ex. 50.
THE 4:-MEASURE PHRASE.
8. The smallest complete melodic sentence, called the Phrase, gen-
erally embraces four ordinary measures.
(a) When regular, it begins with one of the (inactive) tones which con-
stitute the Tonic Triad. These may be placed upou the first (accented)
beat of the first measure; or one, perhaps more, beats be/ore the first full
measure. If the Phrase begins, thus, with one or more preliminary tones,
their value is to be subtracted trom the final measure.
(b) The Phrase closes with the Tonic (i.e., the key-note); upon an
accented beat of the fourth measure (upon either accent, if a compound
measure) ; and preceded by either of the three tones which constitute
the Dominant Triad (see par. 19). This ending is called the Perfect
Cadence.
IN- Ml l...I.\ W1.J11N.,.
Til us (in C :
I
Tfui.-.
lii\ i I | I ;l I I M II
a. I>npl« rhythm
p | | | ; !- | =EES| I ■
I i |>I.i 1 11. .1 in Chap. Ill, ji.ir. 18. 19.
".►. Besides tli.« itep-wise progr ess ions, np or down the line of the
rding t«> the first Primary Bole, it is everywhere, per-
n. i.- 1 1 .If
(a) To repeat a IONS, OflMM or oftener. For example:
*■: — -I-- • r '-S^a
I
F
7
Caret.
II
rap rep eic.
See also Ei 3. Num. I anJ C ; Ex. 32, No. 3, Ex. 30, Noa. 1, 8. 9; Ex. M.
(b) T ipward or downward by the interval of n third, i. e.,
■ping one diatonic scale-step. If this skip of a third is made from an
Inactive lone, it invohis uo obligation whatever. If made from an Active
aoaleetep [namely, from the 7th, 6th or 4th, — as stated in par. 6d, the 2nd
seale-sfc p is aol Bnbjecl to any of the rules of aetive steps), the consaqnenoea
depend upon 1 1 1 < - direction of the leap. No subsequent consideration is
-:irv if the melody makes the leap in the proper direction (from tho
tale-step upward, from the 6th or 4th step downward, as is to be
done in the present lesson). For illustration:
A. WtC in Inactive tones.
IN MEIiODV-WIUTING.
From Active tones, in the proper direction.
^^^j^Ff^ k^J
(par. MO.)
LESSON 1.
A cumber of original melodies (at least one in each key), with strict
regard to the following limitations and directions:
(1) Only in major keys.
(2) Without modulations, — i. e., each melody in one key throughout.
(3) As 4-measuie Phrases, according to the models of Ex. 4.
(4) In 2/2, 2/4, 3/2, 3/4, 3/8, 4/4, 4/8, 6/8, and G/4-measure, successively.
(5) The rhythm strictly uniform, i. e., one tone to each beat, as P, f or
f, according to the chosen measure, — excepting the final cadence-tono
(see Ex. 4).
(6) The scale-line, tone-repetitious, and an occasional skip of a third
are to be employed. Of the latter, only one at a time (perhaps returning,
as shown in Ex. G),— not two successive leaps in the same direction.
(7) No violation of the natural tendency of Active scale-steps is per-
mitted in this lesson. Each is to move in the proper direction. Examples
2 and Gb.
Note — The work should bo, at present, merely the mechanical application of the given
rules; these rules are to become habits,— formed and established, as habits are, by persistent
systematic effort. After regular, collect melodic movement has become a habit of thought, the
tones will soon invest themselves, more or less unconsciously, with feeling and purpose; and all
Sxceptional progressions will lie likely to rectify or justify themselves.
At the same time, the student intttl endeavor to hear each tone as he writes it down, without
the aid of an instrument, and must not desist until he can thus mentally follow, accurately, every
melodic movement. Further, each melody, when completed, must lie sung, and then tested at
the key-board, — but not until completed ; the invention must bo prosecuted away from any in-
strument.
is yri.. .pi ukitinu.
CHAPTKK II.
Tin: BOALE LINE, EXCEPTIONAL.
1 0. It is alwaya poeeible to evade th.« Bee olntJon, i. o., bo counteract
HM ii ktuiul t.'ii.l. hcv, <>f tin- three A j>r< >-
grean m Um opposite direction, bj approaching them, along the Una <»f the
in the BOrreeponding ii. ■-., oppoeite) direction. TLi.s cuuliruia tho
r !■ example:
■i
i -— I
I .^. II
All fc -.-Hl
F
irrog. reg.
irrog.
tang
T*
I
irreg. reg.
r -t^^^^^^ : II
irr..; r. i;.
* -EEc
M^^P^ l
Sec also Ex. 47, No. 1 i Ex. 52, No. 2.
irrcg.
1 1. If approached in the direotion <>f th.-ir Ibvsolution, alonp the scale,
however, the natural iucliuutiuu i.-> reinforced, uud must be fulfilled,— at
present. Thua:
BXXROISES IN MELODY- WRITING.
11
good
good
* Somewhat loss objectionable, because the tendency of the 4th scale-step is less urgent
than that of tlio other Active tones (par. Gc).
In other words, the melody, in pursuing the line of the scale upward, may
turn back (if desired) at any point excepting the 7th scale-step; in pursuing
the line of the scale downward, it can turn at any point excepting the 6th
or 4th step.
1 2. As intimated in par. 9 b, the skip of a third may be made in either
direction, even from an Active scale-step. An obligation is involved only
when the leap of a third is made contrary to the natural tendency of the
Active tone; in which case the melody must immediately turn back, — either
by a leap, to the preceding tone, or by step-wise progression. For illus-
tration :
Skip of 3rd from Active tones. Irregular (conip. Ex. 6, B).
Ex.9.
LESSON 2.
A number of original 4-measuve melodies (at least one in each major
key), according to all the directions of the preceding lesson, excepting (7);
both the regular and irregular progressions of the Active scale-steps are to
be employed. The danger of monotony, arising from the uniformity of
rhythm, must be counteracted by variety of tone-succession; avoid moving
about in the narrow compass of the same 3 or 4 tones, and, as a rule, avoid
returning too frequently to the same tone, especially on corresponding beats
of consecutive measures.
II
IN Ml I ..•!••> U lilllMJ.
CHAPTER in.
Tii !■: OHOBD LIN B.
I'kim \i;v Kt i r.
\:\. A melody may follow the line of tiny good
CHORD
upward <>/• downward, with almost uniim-
itni freedom*
This yields tin* bon vigorous species of movement called disjunct, or
by skip ot leap , and affords the neo o s aar y oontraai with khe step-wise pro-
. MS.
l j. The "Soale-line" may be abandoned for the " Chord-lino," or
the ehord-linc f<>r the scale-line, at any point in a melody, — subject to a
■-t fictions.
l."». The influence of Bjucmohx [la., the construction, relation and
don of CHOKDe) npoo melody-formation is so great and constant, that
this i-* probably the most vital of the two Primary Rules. Unless already
familiar with the elementary conditions <>f Harmony, tin* pupil must study
tin- following brief • ipomtion so thoroughly, and transfer all illustrations to
tii. r key s" frequently and peraeveringly, as to acquire absolute free-
dom in reoogniaing and employing the principal ohord-linea correctly.
1 i\. Che tones which OOnstitute a chord arc found by adding one higher
8rd after another, to tin- fundamental tone which is to he the rmu, and the
• ■f the chord i"f its name, quality, and relation to other chords).
Thus, for the "chord of <"":
Ex. 10.
chord nx.t, i hord third, chord fifth, c-e-g.
Lettere, o-4-g, constitute the ehord of c; and they may appear as
• it iv. m minanl »th chord. \* Fit» Vine - ".
nunant Tlh. Iiicvm, |
!=
\Viih..iu :.
*
Dwataaat »th inmmp.
— — — — «• —
Without Root, o b d f • a.
(b) To th« Dominant class bclnnps also a Triani>-1>mminant or BuB-DomdUBT class consists of a clnster
of ohordj er e oto d apon the axond soale-step, in precisely the same manner
as thoso on the Dominant,— containing five tones, with frequent omissions of
the root. Tims, in C-major:
Beooad Doariaeat Triad. IT.
'
Ex. 14
in any order. -
Second iv.minant Tthchord. II'.
£ =5=
d f a - c.
Bab dominant Triad (properly, the n H T . with omitted Root).
e^n
Very rare
i:
i*
Tonea, o - f ■ a c. eaUad IV. lot mnvenionco
S>il. dominant 7th chord (property, the n II". with omitted Root).
Ton«*». o - { - a - c • e. called IV.
IN MELODY-WRITING.
16
Summary (C-major)
1. Tonic claaa.
Ex.15
N. B.— This table must be reproduced in every major key, daily for a time, at the
key-board, and in writing.
21. The few primary rules which govern the succession, or move-
ments, of these chord-classes are as follows:
(a) The chords of the Tonic class may progress into (i. e., may be fol-
lowed by) any other chord of the same key.
(b) The chords of the Dominant class can only progress easily into those
of the Tonic class, preferably into the I, more rarely into the VI. The pro-
gression of a Dominant chord into one of the Second-Dominant class is
uncommon, and need not be considered in melody-invention.
( c) The chords of the Second-Dominant class pass most readily into those
of the Dominant class; but they may also be followed by those of the Tonic.
22. N.B. — Tliese rules of chord-succession, are so fully confirmed by the
rules of inherent melodic tendency (explained in paragraphs 4-6), that careful
observance of the latter facilitates, largely, the correct application of the former,
23. Nevertheless, it is necessary to be fully conscious of the qnality
and name of the chord-lines represented by skips in the melody, and to con-
trol their movements accordingly.
KULES FOR SINGLE SKIPS.
24. Each single skip must obviously represent, at present, some good
chord. For example (C-major) :
no chord m (par. 19 ft)
f ?! ???"*" ??? ??? ???
Ex. 16.
VI. not as good as TV or II
(par. 18)
all good.
16
is in LOD1 wki iin.i.
conduct then scalo^tbpt in ths p roper
•'. al • ■ .1 ■ 1 ohord-line, without objection, lo the
even in. peotiTe of the manner in which* they are
approached (par. 1 1 ). Thus:
B. Btep 8 regular.
ImguJat .luit good).
VI (par. 18)
I •
3 =1^7
c
SI
IV II
C. Btep 4 regular
IV
all good
P-.
^
□ H V IV
[mgolar i imt good).
i i .^-j.^ i j^gf ./* f ■■' .^.^ i
(Xs »
I XKKclSIS IN MIMiUV-Wlill'IM!.
11
20. The leap of a Third (called a "narrow" skip), as has been seen, is
always permissible. Any larger leaps than this (called "wide" skips) are-
subject to the following general condition:
After a wide skip (i. e., any distance beyond a third) the melody is very
likely to turn, and progress, by scale or chord-line, in the opposite direction.
Thus:
fix. 18.
=t=
^r*t
s
a
W&
:.V1I better, as _
-a nil*, than
-the followiu^: —
«5t
^^m
AtrM'Ei ssniiN.
See also, Ex. 32, No. 1; Ex. 36, Nos. 4, 14. 18, 19, 20; Ex. 52, No. 5; Ex. 60, No. 2, Ex. 64, No. a
Ex. "55, Nos. 1, 2; Ex. 100, No. 3; Ex. 101, No. 5; Ex. 117, Nos. 11, 12.
27. (a) If the melody, however, violates this rule, by continuing in
the same direction after a wide skip along the line of the scale, it should, as a,
rule, pass on only one step, and then turn. In other words, while it is
always more natural to turn back immediately after a wide leap, it is usually
sufficiently correct to do so at the second following tone. Thus:
Ex. 19.
m
m
m
*1) From d down to either of these tones. *2) From/ to either of these. *3) To either.
(b) At the same time, if the scale-tone that follows the skip in the same
direction chances to be one of the Active tones, it is more than likely to
assert its natural tendency and resolve properly, — in which case the rule of
" tarniug, after a wide leap " will be evaded altogether. Thus:
Ex. 20. |=
See Ex. 21-1. *
* These two progressions aro doubtful in any case, for they involve a violation of both the
rule of par. 6 a, and that of par. 26.
1-
1*» MPI 1 w I.I lis,,
Ma 1 •• rule of pur. 'J'*, give* emphasis t«> the Htill more binding
and important nil.-, t hut
It is i Up 10 Hiiv Active tone in tli.' direction qpjMtttt In the
the Utter, iiiim.lv /Vom any Ioim (though seldom beyond an
.'. from iiny tone u p ward to the f>tli or 4th
btNBM their mitiinil Resolution provides for tlio change of
direction iift.r thai 1- ftp, Tim-:
b. u
M^=E^
fn.ip alUiet fruin citl., r from all h.-r
v
Bs* also pat M| sad Ki .'.; N*,. v
fb) Tt must not be Inferred, how e r e r , that this is necessary. It is of
ooutm also possible, though fur Leea regular, to leap upon an Active tone in
tin' other direction >i. e . up w ard to the 7th scale-step, and downward to the
tf i though only along aomo perfectly good chorddine, aa
already Been par. jt .
89. I If the Active tones fire approached by a wide leap irregularly
(in the direction eorr mp emdimg to their He-solution: up to the 7th, down to
the 6th or 1th Btops), it will either afford an additional opportunity of
obtaining the irregular progressions given in par. l(i illx. 7), in keeping with
the rule of par. 26 I '•turning, after a wido skip"); thus:
t I — \ j — Poiilitfiil. lifraun^of th* \
' .> • -I—I — | 0-ma.'m extmn* OTgmej of th* \
#*<•* I \ - ^ ^ 7th nc.-ile-8t<-i»; par. 60 I
(b) Or. better, it will be found expedient to take advantage of the
license of par. 27 a,— L v.. to turn back at the second following tone. Thus:
Ex. 23.
§ Hig
All better tiian those »f Ex 2'.'.
.'JO. The leap of an octave is allowed from any tone, upward or down-
ward (according to the low or bigb pitch of the tone from which the leap is
to be made). This is simply a wider version of par. 9a. For illustration:
pir.M
pur 27 a.
Ex. 24.
IP ,-•- 1-^'^lj^T^'l^^ lll
IN MELODY-WRITING.
LESSON 3.
A large number of original 4-measure Melodies, in all major keys, and
in all the species of measure prescribed in Lesson 1. The rhythm uniform.
The scale-line and skips of a 3rd to be used as before; and, besides these,
single wide skip* (i. e., each wide skip followed by the scale-line, or by a
narrow leap) may occur, according to the above rules. Sing, and play, each
melody when completed.
CHAPTER IV.
THE CHORD-LINE, CONTINUED.
31. Review par. 13, and Ex. 11. If the melody is to continue, after a
wide skip, with another skip in the same direction (contrary to the general
principle of par. 26), it may pass into any tone which harmonizes with the tones
of the preceding skip, — and so on, as far as the skips extend in the same
direction. This rule represents simply the application of the second Pri-
mary Rule (par. 13) in a broader sense. For example:
Ex. 25.
C -major, I
jor.I. V r „V 7
5. 6. 7. (par. 6 o).
9. (par. 6 a)
•7 Hh ??? -&■ ?? * & -#• ??? -*»-
And the flame in the
direction of
figure.
32. If the last tone of the faulty groups (faulty, because the last tone
does not harmonize with the preceding tones) be desired, it may always be
■jo
. Ml l...|'\ Will 1 IN'..
| i v innii-iy, i. f., it in. iv be till;, n ia 11 higher, ot lower, oetave-
r. Thus:
\jk J J I < \
nil |Mi
M U
fcpv+B
38. Tins Important rale eppeara to bare some bearing apon a ringla
skip which foliowi after the Male-line >» t/i>- mm direction .• it is always best
t.i iUd thu onward to Mine tunc whioh bean obriona affinity to the ruling
harmonic impraarion of 1 1 1 « • preoeding Male-tonea What this raling im-
nrewoon ia, dependi ohiefij upon the locution of the accent. For illus-
tration:
Ex. 27 A( v
Ex. lo, meM -i.
1 1 g^^^a ^^^^P^^
I I I pMXl
.'14. The repetition of a tone (par. 9 a) arrests, to a certain extent, the
operation of the ralea of the Bkip (par. 26 end 31). Thus:
K'xxl
bettor
Ex.28. -
fe
'.IT>. The most objectionable progression is, probably, that of the aug-
Baaated fourth, — formed in major by the leap from the 4th scale-step ap to
EXEIM'ISES IN MKLODY-WKITINO.
21
the 7th step, and vice versa, from the 7th scale-step down to the 4th step.
Thus:
7 '
Ex. 29.
i
This progression is checked, in each case, both by par. G (the inherent ten-
dency of the first tone), and by par. 28 b (the irregular leap to an Active
tone). It is, however, possible to justify it as derivation from the line of
the Incomplete Dominant-7th chord (Ex. 13), if it is an entirely obvious
image of the chord-line. Thus:
good
Ex. 30.
i
^^
si
V : complete
Conip. Exs. 17 & 21.
36. The skip of a seventh is only advisable when it occurs either in
keeping with par. 28 a ; or as derivative of the Dominant-7th chord-line.
Thus:
Ex. 31.
5
Possible, but hazardous.
??
^l^I^i^s
Allegro.
37. A succession of skips describing the line of some chord (as in
Ex. 11), should, as a general rule, coincide in extent with the fundamental
rhythmic groups, i. e., embracing in duple measure 2, 4 or 8 beats, in triple
measure 3, G, 9 or 12 beats. In this way the cbord-imagea will confirm, and
IN MXIiODl "KITIMi
ill tin- rhythmic design. In other words, th<« cliord-line
aally, «uilv t.. tli.' • 1 1 . 1 lif ft rhythmio group (through a ball
.rt- or whole measure) ik">i la then exchanged, at the following aaaae ^
chord lino, ot f"r the eoehvline. It must i><> anderatood
• :. i- "nlv ii >jmcrnl rule, BUDJCOt to nmny obvious niodilica-
: i Ulnstration:
I. AlUtfr.'.
m :\^' • '1=
V I
'/, mwa. ';, diom.
G. Each chord lino ' 2 measure.
r,. AtUgntU
I I v»
Bee also, Ki. M, n<> IOi Ex. f.2. No C; Ex 61. No ft
:\H. All melodic formations of four consecutive tones, to which the
roll - of the drip do not appear to extendi must be controlled by the
ttiona of ehord-$U00e$$Um\ lor there are many places in a melody where
the influence whioh Harmony ezerta orer melody hi peculiarly manifest
(par. IB), eepeoiallj when the location of the accented tones is considered.
Anions theae (brmationa maj be classed:
EXK11CISKS IN MELODY-WKITINa. 23
(a) Certain successions of skips in opposite directions. For example:
(par. 21 b.) better
El. 33
(b) The interception of the Resolution of Active scale-steps (par. 7) by
interposing an unaccented tone between the Active tone and its resolving
tone. Here, the location of the tones in the measure is of dominating
importance, as no other than unaccented tones can safely be inserted. If
two tones are interposed, the Resolution may be evaded altogther. For
example:
A. All good
Ex.34.
I "4
• i=f=4=H^ r^^^ ^^^^
Ex. 2. V.
3 A 4
i^^ TTj j j img^Edjg p
IN Ml l.nl'V-tt l.lllN '-IR 'V'^m
liKKTiifivcs.
i^g -i. j^L^U-M rr-\'j_j\. ii
Ax .:<:. N... KJ
Jllt.UIMS.
hrewide leaps whioli represent the aUemak prmentaiio* of
tin- tones of r»o different oontignon (melody-lines, 'rims:
1. !■.■ :'•...;>». 3.
— lf<- : i: ; : MM dSfeS
*3=FM^
:».
I— u
IX. Alltgro.
n-F^+j^T
^ Lj I B <„ * ;^^^; — -I l * II
c.
' ^T^r — I =^< fl
=5
K mujor.
. ._>, So. I Ex. O. BTo. B; Ex. ti.Y No. 5; Ex. 117. \o». 7, 8.
30. N. H.- I'upils who are not yet sufficiently familiar with the chords and the
-i«>n, are likely to find these minuter distinctions confusing. If so,
they may omit this la.-t paragraph,— or any other troublesome paragraphs, — for a time,
with perfect safety. Suek run/union ran only arise from the use of (he irregular and
' ^n, Indie trtattnenl. If the student will avoid these, and limit him-
■XJPKVBBS IN MKLODY-WlUTiyo.
28
self for awhile to the strict oDservance of the fundamentzi rules, and the regular modes
of melodic conduct, he can encounter no difficulty or embarrassment: namely, the two
Primary Rules, paragraphs 3 and 13, —
Movement along the Scale-lino or Chord-line'
and, besides these, paragraph 4, —
Proper Resolution of the Active Scale-steps;
paragraph 10, —
Overcoming natural tendency, by approaching the tone, along the scale, in cor-
responding direction;
paragraph 24, —
Each single skip representing some good Chord-line;
paragraph 26, —
Changing the direction, after a wide leap;
paragraph 28 a,—
Approaching an Active tone in the direction opposite to that of its Resolution;
and paragraph 31, —
Successive leaps in same direction representing a good collective chord-effect.
These few rules practically suffice for primary melodic conduct, and, once firmly
established in the mind of the pupil, as habits of melodic thought, all exceptional and
irregular forms of melodic succession will be found to follow as a matter of course, and
regulate themselves, sooner or later.
Additional miscellaneous illustrations of all the foregoing chapters; the
figures in parenthesis refer to paragraphs :
1. Andante.
(par. 13) (9 a)
Ex. 36
Chord Sc. Chord.
3. Allegretto.
(13)
(6c)
| I
: /
T~> r \
1 1 *\
Lb" J '
1 1
|
Wu * • J
'
\) a 4
[y
4
J
-0-
Chord.
(37)
(386)
Chord..
Beethoven.
i
M-*-* s
Rep. Ch.
1 p.
Heitiiovbk.
f^|r^|.l:. =| ==|.'::;| ; _. V .=| j ^|
Ch..rd Sc. Ch..
7. ^U/jro.
(13)
fc' ':• i
Ji
(6a)
(The farther analysis is left to the student).
O. Allegro.
(386)
I?
=F=?
*fc *■"■
7? • r
» I r* P * I
J]
(10) (9 a)
(6 b)
13. Moderate.
BTEBOIBES IM MXLODY-WKITCNa.
(26)
27
MOZAKT.
(6 a) (66) (276)
13. Andante.
piferd^
(66)
(25)
" ** ' #-" ' ' ' ' — •- € - J * — °
(37) (37) (29 a)
(37)
14:. Lento.
ty-' 3_ 4-L-& — ^-1 ^J-P j— 1 —1 tJ-S' ' » I g ,. Il
(26) (10)
BBg^^^^^^N^fe^^
*~^r
(10)
1G. Maestoso.
fHH -| | t
1 1-
3tZ=t
> * r I
(10)
^
*=**
MENDEL8S0HIT
17. Andante.
r-^zf^=F=m=E=& ^
a
(10)
18. AU^ro.
£±r^
(36)
j ^^=T ^ ^^ ^£^^ g ^n
lO. Al&pro.
IS MKLODY-W l.lIISil.
A E
ti3 »«.a i2flj
-r
" i ii
I I ™.i uamhu "Tom RsuTtom" (O. Bchlrmor, N'. v.. lixw), Lou.
mm 10. all . I..ki..ii 1 .1. :vll , LOMOfl •■"! »
LESSON 4.
A large nnmber of 4-measnre melodies, in all major keys, and in all tho
ipocios ol Measure prescribed in Lea on 1. The rhythm uniform, Tho
ec tie-line and ohord-linea to be employed, in the moat comprehensive man*
ii. t, aooording to the given directions. Recollect, and apply freely, par. 9a
and par. BO. Revie* the aote to Lesson 1; and par. 89, thoroughly.
Bing, and play, each melody when completed.
Booh melodies of these first t Lessons as have been corrected and ap-
prored by the teacher, may be harmonised, by those students whoso knowl-
edge of Harmony enables them to perform the task successfully.
CHAPTER V.
MINOR.
40. The true minor mode, that is, the "harmonic form, corresponds to
the major scale of the same key-note, excepting that the 6th and 3d %oah*
etept art fettered a ohromatia half-step. Tims:
C-major.
Ex.
<: i :
c minor, harmonic (arm.
Tho nam* in 1>oth dlTMttona.
X*
-"
SigMtore, 3 fiiU.
*^=?
KXKUCISI'H IN MF.MiDY-WllITINO.
20
All melodic and harmonic movements in minor are regulated npon the
basis of this, the harmonic, form of the scale. Before proceeding farther,
the student must familiarize himself absolutely with this derivation. Every
minor scale must he written out, according to Ex. 37, and played repeatedly.
And tho table of Ex. 15 is also to be written out in every minor mode (with
lowered 3rd and 6th steps).
41. All the Scale-conditions and Chord-conditions of the major mode,
explained in the preceding four chapters, are therefore similarly valid for
minor, — with a few self-evident limitations, as follows:
42. The most noteworthy limitation for minor melodies, is an excep-
tion to par. 10, as far as the 6th and 7th scale-steps are concerned. These
should not appear in immediate succession, as a very general rule. Ex. 7,
measures 1 and 2, are therefore only valid in C-major, — not in C-minor
(Ex. 7, measure 3, however, is not involved in this restriction). Thus:
Ex. 38.
7 , ? ? ? 6
m
6 ? ? ? 7 ,
^il^^^l
C -minor. The flat is inserted before a for greater clearness.
This also affects a portion of Ex. 17, Ex. 20, Ex. 22, and a portion of
Ex. 28, — no others. ■
43. This succession is nevertheless possible, though very rare, as obrior.:?
derivation from the chord-line of the Diminished-7th chord (i. e., the Domi-
nant-9th chord, in the minor mode, incomplete, — Ex. 15, chord no. 7, with
a?). Thus:
Better (par. 28 a):
44. Further, — an additional augmented fourth occurs in minor, formed
by leaping from the 6th scale-step up to the 2nd stej); and vice versa, from
the 2nd step down to the 6th step. Thus :
Ex. 40.
The flat before a is,
of course, superfluous.
This progression, like that of Ex. 29, is checked either by the irregu-
larity of carrying the 6th scale-step upward (par. 6 6), or of leaping down
upon it, in the direction of its Resolution (par. 28 6).
And, like the former, and like the irregularity of Ex. 38, it is possible
KXriU-ISF-S I* Mn.nl'T WI1ITH',
:• n\ -utiitu fr.un i\ chord lim\ —either from that of the
Ihinitii.xli >d-7tli ehord ,\ ' ' i:i minor , or EtOB Um II. Thus:
*«Wj. i ■'' ' \' "• A. -v. I.. .--II
minor. '
i."». Further, the well-nigh Intolerable interval of tin- augmented fiftli
In minor, In leaping tron the 8rd icnle step np to the Ttli itep, end
r a. Thne:
*-*lM ,.^J'W&
?? ? ?
Cmmor. (Ill ?)
??? ?
Thi* erm Is checked by several rules, — pur. 21, par. 28 A, par. 6a.
Tli.' leep from Btep •'* down to Step 7, on the contrary, is perfectly pood
(par. 28a). Hut the leep from step 7 up to step .'5 hed better be avoided
(for the pre- nt i, as it represents a very improbable chord. For illus-
tration:
Ex. 48.
II
pood
C minor
N. B. Krrry mu/iral il I u it rat ion given in Chnptrrt I to IV is to be reviewed and
inted in the corresponding minor key (explained in Ex. 37).
Additional general illustrations
1. lihyrw
Ex. 44.
M>NDKl«SOH5.
te ^rH^^ r^^^M^EEi
Lp»r. 31
I Bioor.
3. Adlfin.
, pur II
/- ^j t j J
Lp»r. 3
m
T- r.
U-J
EXERCISER IN MELOPY-WRrTTNn.
.31
3. Adagio.
■I. AlUgro.
See also, Ex. 55, No. 3 ; Ex. 61, No. 8 ; Ex. 65, No. 1 ; Ex. 129, Nos. 5, 6 :— and " Tone-Rklatio.xb,'
Leesou 11, all ; 1(5, No. 7; 18, No. 7 ; 21, No. 4; 22, No. 4.
LESSON 5.
A large number of 4-measure melodies, in all the minor keys, and all
the species of Measure prescribed in Lesson 1. Rhythm uniform. All
details precisely as in Lesson 4. Avoid monotony.
CHAPTER VI.
DIVERSITY OF RHYTHM. REGULAR.
46. The rhythmic effect of a melody may be heightened by employing
tones of different time-values (instead of uniform beats, as in the preceding
chapters).
(a) The disposition of these values is Regular,
"When the comparatively longer (i. e., heavier) tones occupy
the accented beats, or accented beat-fractions ; and, vice versa,
■when the comparatively shorter (i. e., lighter) tones occupy
unaccented beats, or beat-fractions. Thus:
Ex. 45. 4
A | A
J . . h 1 J
regular rhythm
A
1
1 A
J 1 J
A
J
J~5 1
n
nll-in
f i
4 4
j n j . ; n
j j n
n n
IS Ml I ..|>Y-\VKITIN<1.
J J J J
j . : j n j n
J J m m
J. J
I
•
A A I A
J J .
(b) Uniform division! <>f an entire measure (i. «■., uniform l>ent*«, or
baa 1 fiaotiona) arealwaya regular, also, because they do not oontradiot tlio
above conditions. Thne:
Ex. 46.
"I
■\~ . It is geserallj advisable to moid oaing extreme time-values in the
Phrase-melody. For instance, in 9 1 or I 1 measure, J-notea (as ram
of two boats) anil v*- notes (as simple division) may both occur; — occasionally
. dotted half-note, or ■ 16th-note; bnt the whole note would be rare, and
82nd-notea almosl onl of the question. In other words, the beats indicated
in the signature should constitute the fundamental or average tune-value
this may 1** augmented by one or two (rarely three) additions, <>r diminished
by one or two divisions.
The mMUM given Id Bzs. 8, 7, .t2 (excepting Now. 1 anil 5), nj .hi. I 'M (excepting Hon, i".
ID »re all oonsferaeted in regular rhythm. They »re to be carufolly re v ie w e d, from thin itand-
paint Bee slno, " Ton i:> i ltioks," Lmbou I - Hoe. l. i. 5, Bj 22, N'-s. l. ■_•, Sj no, N.».s. l, 4.
•IS. Rhythmic diversity is derived from uniform rhythm by the fol-
lowing methods:
(a) By employing tho dot;
J J J -J. /Ji I J J = J
any other process of lengthening one or moro of the original
tones;
I J J J = J -T3= : J J J J- J J J3-J JOT;
j. J .t .-
Further, diversity is j.rocurcd —
(W By placing tea or mora tones in a measure tlian the number of its
EXERCISES IN MEI..ODY- WRITING.
88
fundamental heats; for instance, in 3/4 moasure, loss or more than three
tones. The first gives addition, the other gives division, of beats. Thus:
J J J
uniform
j. / n
4 tone.
J J
j j n
j n n - j n n
J 71
The " triplet " will be regarded, at present, as 6/8 or 9/8 Measure.
49. Rests represent, commonly, the suppression of a portion of one of
the original tones; — generally an unaccented fraction, in -which case the Eest
follows the tone; sometimes, however, an accented fraction, in which case the
Rest precedes the tone which it represents, and as the equivalent of which it
ia to be treated. For illustration (the slurs indicate which tones the rests
are borrowed from) :
1. Allegro.
Ex. 47.
ji P ^^^ E ^^^ -^^^El
Mendelssohn.
"T4-
Eg i H : 3 ^=i}= j= * teg &^a i
-As— and -f-
3. Allegretto.
D-major.
Soe also. Ex. 56, No. 2 ; Ex. 59, No. 3 ; Ex. 87, No. 2 ; Ex. 95, No. 4 ; Ex. 102, No. 3 ; Ex. 106,
No. 5 ; Ex. 117, No. 9.
The employment of rests (which must be very sparing, a!; present) is
subject to no other rule than that they must never be permitted to sever
34 l-\l II. I'.l ■.--. IS Ml l.cl'l WKITINli
I the Melody; if used ander oonditiona that preserve or
the oohea erf* emphasise the itntotaral unity of
•.• mv. Uk j -it- .-■ rt:iin t.. be permiaeible and ef&otiye.
LI
\. I ,. <. nnmber of the melodiee Invented la preoeding loeeona. in
uniform rhythm, and diveraifJF the rhythm in regular forme aooording t'.
thonl altering the nnmber of tonee in the original form).
It. Invent a Large nnmber "f new melodiee with diversified rhythm,
m nown in par, 48 a, i and e, A very /no rests maj be inserted.
Bmploy every ipa Measure presoribed in Loeeon 1; anil writs
i I minor ;//<<f fonr-meaenre melodiee in 9/8, 9 l and 13/8 Measure,
Rhythm diversified, regular forma; different major and minor keys, id-
ternatelv.
Such melodiee of these two lessons aa navel d oo r r ooto d and approved
by tin- teacher, may l>e harmonised, by pnpila in Harmony.
CHAPTER VII.
Till- PERIOD-FORM.
fW. Tho "Period" generally embraoee s mennureR; that is, tirn phrases,
of J meaanree each. The first of these ie called tho Antecedent, the second
one the Consequent Phra a
51. (n) T: • !' '■ : e 1. gins BXaotly like any sinplo Phrase,
aooording to par. 8a Put it enda, not with the Perfect oadenoe (8 6), but
witli a so-called Semioadenoe, — upon an aooented beal of 1 1 1 . - lth measure,
wtik >~ith J /- n_TJ I
regular irregular .". T
tf * tt \ J \ 0* |
regular irregular regular
>== j-] 1 )-= p=~> 1 1== n I
# « « «W * \ 4 * , o a • j
irregular
3. / 1 > j. 1 3 nlj .n | }73 rj |
regular irregular regular
hJl|JS^3|3 J3.|fc.j|fr«T3h
slightly irregular irreguiar
regular
A I A | A I a A I A I
j j I j j. /I j j jJj l/jj |/3 j j I
inegular
ft J /3 |)773 J | jj_0 J Ji- 1 J h
A A A I A A O I ^ A
W I J J J | J J /"j | *.. .»! | J J J
regular slightly irreg
A A | A I A I A |
j Ji j. j n Ij j. j J jLtj j J /h
» i j . j / j . jtj
A A
i r* i
regular irregular
1~n 3.1 > J > J | - 3t3 3t3|-
In other words : if the tone upon the first beat (or any other accent) is
longer than, or at least as Zon<7 as, any other tone in the same group (measure),
the rhythmic disposition is Regular, — otherwise Irregular.
KXBUCIHH I tN ItELODl u liITIN.i.
r,r,. . of irregulsrity depends^ of oouroe, upon the degree of
penoj between the length <'f the tone end the oomperotiye dynomie
Quality, or length, "f the heel ox i »• :». t freotion upon whioh the tone ia miH-
ploned. For InBtonoe, upon ■ pnlae entitled to en Bth-note only, it is more
tiieguler to looete e J-note, than a J-note. En Ex. 51 e, measure 6 ii more
8, or measun i .". end (
.-.«■». i . a rhythmie Bgnree ar.' never objeetioneble, ne tpHttg
whtn ■ I not elweya poeitiTelj wrong, eren then, though usually
l:i other words,
An Irregular rhjthmio figure mey elweya be justified by racwrring; —
cither immedietely, in the nest' following group «>r measure; or in
aome, not onreeeoneblj remote, eorrt$ponding meeenre;
namely: mee on • I and ■">. or '2 and 4, of the four-measure Phrase; and
meesurea 1 end ."., '2 and 6, :s end 7, or 1 und 8 of the eight-measure Period.
For exemple:
1. ifoiUralo.
1.
3
Kt.
*=*
m
1> minor.
rectified, In fol-
lowing :
1
~ '■
BCHVKAB*.
8
II
rocurri'iire in corresponding mtiMWTHa
(j>ar. 12uu)
£». AtUgrttto.
Mbxdilsbohx.
1 *
p^
t
II
G -mnjcir. I — irreg
3. I.rntn
J Lrectiflod by recurrence.-
m -j*^
EXEKCISES IN MELODY-WIUTJNO.
F. Lirreg — I Lreourrenoea
7. Andante.
2^
d
-r- *
^3
Lirro^.
-* — Jr
m
8. Yigoroso.
Schumann.
See also, Ex. 36, No. 10; Ex. 54, meas. C, 7; Ex. 58, No. 5; Ex. 62, Nos. 1 and 2; Ex. 80, No. 2;
Ex. 100, Nos. 2, 7; Ex. 117, No. 11; Ex. 129, No. 13.
Examine "Tone-Relations," Lesson 13, No. 4; 16, No. 2 ; 32, Nos 3 and 4; 35, No. 3. i
(b) Illustrations of a very common rhythmic irregularity in triple
measure, which appears to demand no justification (m° f f V are found
in Ex. 32, No. 5 (end); Ex. 55, No. 2 (end); Ex. 5G, No. 2 (end); etc.
LESSON 9.
A large number of 4-measure and 8-measure melodies, with Irregular
rhythmic measures, according to the above rules, — particularly par. 56. It
will be well to limit this exercise to occasional rhythmic irregularities,
introduced in Phrases or Periods of an otherwise regular and simple design.
Extreme irregularities (par. 55) should be avoided.
Use the varieties of Measure prescribed in Lesson 1; different major
and minor keys, alternately.
At first, experiment with former melodies, modifying their rhythm
without altering the tones. Then invent new ones, with immediate ref-
erence to Irregular rhythm.
Ifl
l \ii.c isi:.S IN MiLODY-WlUTXMG.
CHAPTER IX.
EXCEPTIONAL SKMKADENCES.
r*7 . The Bemioadenoe, in theoenterof 1 1 1 • - Period-form, may bo made,
somewhat exceptionally! upon seme other than ike tenet qfthe Dominami Tried
I prescribed ia par. 51 B, the MkdeoM of the tirst Pbra.se is made upon tbo Tonic ; this ia very excep-
tional, but, of course, possible.
J>8. Furtlier, the semicadence-tone may occasionally be shifted to the
secoml beat of the group, especially in triple measure (3/4, 3/8, 6/8), instead
of falling upon an accent (first beat of the group) us prescribed. In this
oase it should, ai a rule, be preceded (on the accent) by the next higher, or
next lower, scale-step, as obvious grace-note. Thus:
J— Ll-I
Ei.5-1.
'J
EXKKCISES IN MliLODY-WlilTCNa.
11
i
i=^s=
, ~r
»
=F=F
=T--,-
±=M=X
^=#=1^
(par. Mb).
£=^
A A
B*
~f — 4
O
(Ex. Jl-1).
Seo also. Ex. 30, No. 14 1 Ex. 57, No. 2; Ex. 58, No. 1.
LESSON lO.
A number of 8-measure melodies in Period-form, -with the exceptional
forms of semicadence explained above.
CHAPTER X.
SYNTAX OF MELODY.
59. The succession of tones in a Phrase or Period-melody, may be
determined by a broader consideration than the application of given rules
to each single unit of the melodic succession; namely, — by the principle of
symmetrical recurrence, applied to an entire group of consecutive tones.
The recurrence, or reproduction of the group, may assume the form —
(1) Of an exact Repetition; or
(2) Of a Sequence.
60. The " Repetition " is a literal recurrence, upon the self-same scale-
steps. Thus :
1. Moderate. Folk-Sono.
(par. 56 b)
II
KXEKC1M-' is UKIXIDY-WIUTIMO.
S, AlU^fiL>
•' ii urn i . >.■ iiiiim ' un.il.ili .1 i li \ Hi lir.i'i.
<;i. The " Seqnenoe " ia a reproduction of the group <>f tones upon
st&sr weak tiepe, 11 01 rtain tateiTal-distanoe aboye ok beloa the original tones.
TIiuh:
1. Si.xiernto.
Ei. K.
tegg=^«j
* •
F
^uMUm
J lt«pt Iii»;1ii i.
3. AlUjTttLi
■ *
^^
II
E. primp
■equeuoe
1 »t<-p higher.
(par. M6)
tt2. The Initial group or figure, to bo reproduced in either of these
ways, nmy be of almost any Length; but it is frequently exactly one measure,
and, in any case, it ia almost certain to correspond <<> the fundamental rhythmic
(jrniij's, i. c, to include 2, 4 or 8 lii ;itn ia duple Measure, and •">, 6, '.' or 12 bean
in triple Measure, — similar to the conditions of pur. .*'.7 (whioh review), and
fur the same reasons. Further, the group may begin upon any beat of
the meaaure. For illustration:
Ex.57
(par. W a)
m
• *
• ,
Folk Sono
aeq nenoe
l step lower.
=F=P
II
At Bx. 55. Xn. i, and Hx 5G, No, i, the initial figure 1 1 mi m nwm in: g, beginning with
thn hvtt (the uueeentMl) beat At l'.\ 57, No, I, U la »ery brief, on e Himrt meaeare, beginning
with tin- aeeeat At Ex. BO, Ha i, it coven two meo or< i, beginning with the second U-at At
Ex. '■>". N" '-'. it hi v. rj lnin; - four nirxiiiri'S, or an entire l'hra»e. At Ex. 56, No. 3, it bo^ioa
npon the cth In ■! of the 'j h meaanre.
'lluntralinns of tin- ran- r. currriiro of a croup of Ittt or mOTt befttl than the funilnmoutal
rbyUimic k'°"P contains, are j;i v '" i" Bj 82
EXEllCISKS IN HELOSY- WK1TIM0.
48
63. Tho recurrences, by Repetition or Sequence, may take placo at any
point in the Phrase or Period; though they are most common at the begin-
ning, — and, in any case, thus* represent corresponding rhythmic pulses (beats
or measures), as indicated in the last clause of par. 56.
In Ex. 49, measure 3 is a soqnenoe of measure 2 (threo steps lower) , and measures 5, 6 and
7 are the repetition of measures 1, 2 and 3, that constitute the "parallel construction" of the
whole Period. In Ex. 50, measure 2 is a sequence of measure 1, and measure 7 a sequence of
i C. In Ex. 53, No. 1, measure 6 ie a repetition of measure 2.
64. Besides the obvious structural merit of such unified formations,
there is another important and peculiar advantage involved, namely:
The recurrence of a group of tones, by repetition or sequence,
serves to rectify, or at least to justify, almost any irregularities
of melodic succession which may occur,
(1) At the point of contact of the symmetrical groups, or,
(2) During the sequential recurrence of any perfectly faultless
initial group.
This rule is analogoiis to that of par. 56, in reference to the amelioration
of irregularities of rhythm, — by symmetrical recurrence. For illustration:
1. Andante. (Ex. 43--2). Gkikg.
group i N,B> i re P-
G-minor.
3. Any tempo. (Ex. 31)
(par. 566).
■ » tyi jj^U-U^j j \ r j r c \m
(Ex. 16)
4. Lento.
(Ex. 29) (par. 6 c) (par. 6 a)
n. n.
D. group
5. Allegro.
n.b. sequence
(Ex. 8)
t! KXEIU'IHKH IN M KM 'I I V -WHITINO.
. Th« iniimfcMt ImportaiMM of brief rests, ut tin- mui of the qrmmet.
ricftl groups, lo .•inphiusi/.n tin- rtY.-i-t of 1 1 1 • ir rniirrrmv, and exhibit Um
syntax of the Phrases, is demonstrated in Ex. 17, Nos. 1, :i, 1 , Ex. 6G, No. 2;
00, No. :J.
R*t1«-w par 49. Ml ».»• «U... Ki 40 N.. 1 Ki M Ki ■ N.. 4 I'i. Mi NVJ; Kx 51*. N'-m. I,
4. Ki 60. No J. Ki. r,4. He, J, Ki. Mi. No J, Ki. 100, No. 1.
LESSON 11.
A largo number of 4 and 8-ineuMure melodist, with symmetrical repeti-
tious ami sequences of tone-groups, as explained above.
CHAPTER XI.
MELODIC SYNTAX, CONTINTJED.
REPETITION AND SEQUENCE, MODIFIED.
GO. The recurrences of tone-groups, both as repetition and as sequence,
need not bo thus exact, as shown in the preceding chapter, but may bo
modified, or varied, Rlightly (not to such an extent as to render their recog-
nition difficult or uncertain), as follows:
(a) By adding one or more intermediate tones; — possibly, also, by
omitting particles of the initial group ;
(b) By altering one or another of the original intervals of melodic
succession, — widening a step-wise progression to a narrow leap, or a nar-
row loop to a wider one, and vice versa. In this way the lines of the initial
group are somewhat expanded or contracted, but, as a rule, without chang-
ing the original direction at any point. Thus:
(par. 6f.o)
&s
1 — fl
i — •-
s^
F-major.
mod. rep.
(par. fioft)
n. u.
Chofu.
. | mod, rep.
^5—
**<
3. Moderate.
3. AlUgretU
EXIBCI8ES IN MELODT-WBITINa. 46
N. D. FOLK-SOHO.
tW 4 J fzb:
n. n.
^ Eppa
— ^ — ? j_^
G. group
(expanded)
J mud. seq.
rood. seq.
4.. Allegro.
m *vj J -r+ i
;
fc=
-*— g-
Brkthovkx.
D
modified seq.
6. AUegro.
^
J]
CJ- minor. L
rood. rep.
6. Lento
t jte x i& m mf&J I km
tt=£
m
_. . .group *~ (|)(Ex. 40).
GS-minor. L5 - ^_i mod. seq. M /
See also, Ex. 52, No. 3, measure 1 and 3; Ex. 52, No. 5, measures 1 and 5; Ex. 56, No. 1, com-
pare last 4 tones with first 4.
67. Further, the repetition or sequence may be partial; that is, con-
sisting in the recurrence of only a portion of the original group. For
illustration:
1. AUegro.
Ex.
lA
(par. 666)
A. . group, complete seq. compl.
u
n. b. portions of initial group-
PiU
H i nJ . ' I I
3. Allegro.
i
^e-f 5 -
g^s
^=z:
:2=zt
W^4
x=t=f
F. group
mod. seq.
partial sequenoes
RXKBriHM is Mn.i'1'V WUITINfl.
j-J.jj.:;--j 'i-^
• r<|., rxmct
A ■ ' - ,^ | : LLz'l' "• II
<*»s. Further, more rarely, the repetition or sequenoe may appear in a
dUFerent rhythmic form. This very effective mode of reoiiRenoe is com-
paratively harmless (not jeopardizing the reoognisabilitj of tho original
group):—
(1) If the sum ofbeaU remain* the tame; or
(2) If tlit> sum is exactly i'.ju.m in
| triple dmmJ
3. AUegro.
3. Allegro.
Beetfiovex.
E sg^-^— Uj l it L i [ r — »— — *-*-y~*-« J ^TH Ri -l
F-minor. groups,
| 2 beata
(par. 81).
4L. Allegro.
5. Moderato.
(par. 64)
Crimp,
| 2 beats | | seq. mod, , | seq. exi
od. *(*)
6. APtgro.
(Ex. 35). £
feF
2-*-
- ! I
| 2 iH-'ttH | L
1 1"
sequences, exact.
70. Finally, the recurrence may be modified by being turned bodily in
the contrary direction (i. e., upside down). This is an. excellent device and
ISBS rS Mr.I/Ol>V-V\-UITTNO.
phonlil be ftp* flj HuraiMd. In this cimc, particularly, (he raonrranof should
immk in ouirapondiiig rhythmic locution (not shifted, m seen In Ei 62,
but MMording to the role of pur. 68); ami, as ■ rule-, should not \»- subjected
to any further confusing inotlilicution that may obscuro the syntactic pur-
pose. Thus:
1 . Iyargo. DUIBOVS*.
Fx. 68.
3. Largo. or:
Brahma.
„ u ' <— - ~' I 1 , , 11. Any tempo.
•^ irrnnn . rout ilir NO . irrnnii
y^f=hM fr^^^p^^BI
<"'" ' lir - , , modified
ihimI I _ j
-1. (Ex. 52. No. Q).
Mkhpilmohh.
O. Yivaee.
* .^cronp | i co " t<1ir i ,"ric dir. ,
0*0
•J". Moltn moderato.
Ep i-j-U j "* ,w J ~u
^^B
partlv -* "J* pnrtlv
j ^ont. riinM-tion , fT gronp ( [C „„ t , direction ,
(par 81)
(par 27 o) (2Ho) (08)
(26) (28 a)
IN METjODY-WRnTN'O.
49
Soo also, Ex. 7, No. 4, first throo tonoa, moasuros 1 and 3.
LESSON 12.
A large number of 4 and 8-measure melodies, with recurrences of tone-
groups, by repetition or sequence, modified in the manners illustrated.
Each device is to be exercised successively, in the order given above.
Major and minor alternately; various species of Measure, from 2/4 to 12/8.
No changes of key.
After correction, a few of these melodies may be harmonized.
CHAPTER XII.
MELODIC SYNTAX, CONTINUED.
THE PERIOD, RESUMED.
71. The recurrence by Sequence may be utilized on a broad scale, as a
guide for the movements of the Consequent Phrase of a Period-form. In this
case again, as in par. 52, the construction is "parallel," the only difference
being, that "sequence" is substituted for "repetition," in the conduct of
the second Phrase.
The sequential formation need not be exact; it is far more likely to be
merely an approximate guide for the Consequent Phrase. And it need not,
generally will not, extend through the entire Consequent, but through o
portion only. Thus:
1. Antecedent
Ex.64
I ; Jliipilteis
*
==.
I
Oeaaeqaeat
MlKUII
II
i
:i. aateeedeol
m
■i ■
^3l
*-\-»-
1 ! ■ ' nr * 5 1
Ei?. | E r ""P
CoiiHrqurnt
Bee rJeo, V\. B7, No. 2; "T(ixk-i:si.atioxs," Leeaon 48,-3.
N. B.— In Nos. 1 and 2 of the above example, the cadence-tones are not defined
Moording to the rules of Chapters VII and IX; but the pupil can easily (and must, yet
awhile) adjust his own exercises to those rules.
72. Analogously, the device of recurrence in Contrary direction (par, 70)
may be applied on the same broad scale, to the (•(instruction of the Conse*
qui nt Phrase; — possibly throughout the latter, though mnch more probably
during s portion, only, of its length; and, almost certainly, with some free*
doin in regard to the modifications explained in par. 66.
Such melodies are known as Periods of "opposite construction"; com-
pare pan. 52 and 53. For example:
Ex. 66
BXXBOISSS IN MELODY- WHI T IN G
See alao. " TONK-KKLATIOK8," Lobsou 18, No. 7 ; 22, No. 3 ; 27, No. 1 ; i8, No. 6.
LESSON 13.
A large number of 8-measure melodies in Period-form, applying the
devices of sequence, and of contrary direction, for such a portion of the
Consequent Phrase as will not interfere with the given rules of the ca-
dences.
The extent of coincidence (either as sequence, or in the opposite direc-
tion) is to be shortened, gradually, in the later exercises, similar to the
manner dictated in par. 53, — until no more than brief figures (3 or 4 tones)
of the Consequent are derived from the corresponding measures of the
Antecedent; — not necessarily the beginning; the derivation may occur at
any point.
Major and minor alternately.
All species of Measure, up to 9/8 or 9/4.
No changes of key.
Beview, carefully, the directions given in Lesson 8, and apply them,
where suitable.
CHAPTER XIII.
ALTERED SCALE -STEPS; MAJOR.
73. The Scale-line may be modified by the chromatic Inflection
of certain steps ; or by the Substitution of such chromatically inflected
steps for the corresponding original ones.
N. B. — A chromatic progression is the inflection of a letter, by means of an Acci-
dental
The chromatic inflections are to be effectuated strictly in accordance
with what are known as the "Altered Scale-steps."
EXERCISES IS MELODY-WHIMS,,
TheSC STC ii-i follOD •. in tho vitjnr m (narkad 4 \ )
Id Stop,
:.tii Stop,
Ut St.-],.
r.ti, si-
raUed. .
ntoad.
raiaad.
l.lllicl
d ■. )
(S-H
(1+)
<6+)
74. Si mm\kv: Every Scale-stop in major may bo chromatically raised,
i. i\. inflected upward, -exoepting the 3rd ami 7th Steps (those which are
lollowed, in ascending, by the half-steps). Only tho Gth Scale-step, how-
ever, may bo lowered, i. e., inflected downward.
7.~>. Every altered Btep in major may appear,
(a) Either as direct chromatic inflection of the original Step, that is,
preoeded by the latter; tins:
Less common :
1 r*
rare:
6 f~*
Ex. 67.
l ^^^ ^ m ^ft^ ^
C-major, throughout.
(h) Or, us s>i/,x(i(tttir»i for tho original Step. In this case, tho altered
Stop may be approached from the neighboring Step, — best from that one
which lies nearest the altered tone; and, as a rule, so as to avoid the interval
of an augmented 2nd. Thus:
A.
Ex. 68.
m
>
i=P
C-major, throughout.
¥
•*
^^S^
^^
Augm. 2nds (comp. Ex. 38).
(c) Or the altered tono may bo approached with a leap, exactly accord-
ing to the rale Of par. 28 a; i. e,, with a skip from any not unreasonably
distant tone downward to a raised Scale-step (because of its upward resolu-
BXBBOXSBS in MKLoiiY-wurrrNo.
.13
tion, — par. 76 a); or from any tone upward to the lowered 6th Step (becanse
of its downward resolution). Thus:
C-miijor, throughout.
(all
(all Roo.1).
6-
±
lab
I
(d) Very rarely, the raised tones may be approached with tho opposite
leap, namely, from below, — in the direction corresponding to their reso-
lution. For example:
Ex. 70.
all ? ? ^4 +
all?? 2 +
PfEES^B^S=J£gggEEfl
C-major.
(e) On the contrary, the lowered 6th Step (being a more natural inflec-
tion than any other of the altered tones) may easily be approached with an
irregular skip, from above, — only, however, along some obvious chord-line
in the prevailing key. Thus:
(Ex. 42)
(Ex. 40)
Ex. 71.
76. (a) The regular (to a certain extent obligatory) progression, or
Resolution (par. 7), of the altered Scale-steps is as follows:
The lowered Step descends, — generally step-wise.
The raised Steps all accent?,— generally step-wise, i. e., to the next higher
Scale-step. Thus:
Ex.72.
; ^^=H i
3
^fezH
C-major, throughout.
( b ) Exceptions : The lowered 6th Step, for the reason given in par. 75 e,
may leap upward or downward, along any obvious chord-line. This is also
possible with the best raised Steps (namely, the raised 4th and 2nd), but
rare, and hazardous, because of the difficulty of confirming an obvious
U
xuBcuiiH is MKLoDY-wamHa.
chord-line, without cancelling the prevailing key; see par. 77. For illus
tratiou:
(■0 >;.m~Ii
inn c hrtra)
71
G mivj.T, Ihioaghoal
(Ex. 40) iar.lv
[mprobftblt ehord lini<«, iu (,'.
I
20
* ???
(c) Further, the rtdted 4:h and 9nd Slept are, rarely, preued chromed-
totemwatd to the original tones, — exactly aooording to the principle of
par. 10, which rev i ew . Thus:
Ex.74.
p^^ii^S
(not ffi]
C -ni;iji>r.
(uut eb)
77. Tlie inflected tones are not to bo considered as changes of the key,
nor allowed to cancel the prevailing scale. They are controlled in their
movements by the impression of the given key (or scale), which is to re-
main the satin- throughout each Phrase or Period-melody, — for the present.
For general illustration:
76.
1. AlUgro.
Bkktiiovrx.
;
n -
:>«
, =s^b
Ab major.
2. AVUgro.
II
Al> major.
3. Alltgro.
(Ex. 08, U)
a afeEB fe^s
# .V*
t3
J
A-niajor. throughout
EXEKCISES IN MELODY- WUITINO.
55
i r^^fe
#-„•-
D-major, throughout
<>. Moderate.
SCIIUHKUT.
D major, throughout.
7. Largo.
(Ki. 74)
Afr-niajor, throughout
See also, Ex. CJ, No. 2 (eg) ; and glanco at par. ^8.
LESSON 14.
A number of 4 and 8-moasure melodies, in Major, with occasional in-
flected Steps. The alterations must not be so brief as to appear to be
"grace-notes" only, but must be obviously essential tones; as a rule, not
less fckan a full beat in length, occasionally longer. No changes of key are
to take place (par. 77).
The first few exercises are to contain the best altered tones, and the
regular modes of treatment; then experiments may be made with the more
exceptional forms. Review par. 9a; par. 30; par. 39.
CHAPTER XIV.
ALTERED SCALE-STEPS; MINOR.
78. The inflections of the harmonic minor scale are as follows (in the
order of comparative importance) :
Original Scale-steps.
(Ex. 37)
Altered Scale-stepa.
7 -
Ex.7G.
=^r^E feg
=#=
C minor, throughout.
>■
4th Step, 7th Step, 6th Stop, 2nd St.].,
raised. loweiod raised. lowered.'
M
IN Ml LOD1 -WIUTINO.
<-nn doI be M ooTiToniontlj enmmaTimfl as the Altered Stops of
major; they must be in.li- j >tii«lfii t ly memoriied.
7i>. The rules for their liaakinaiit urt* nearly, tin. ugh not precisely,
similar ko khoM goreming tin' u1ut.i1 St.'ps ..f major.
fa) The raieed ith step (whieb appoaw alike [0 major and minor] in kha
only one thai may occur both ai ohromatic Inflection of, and ai substitution
fur, the original Btep; i. a., it may be Introduced ohromatioallj (par. 75a),
<>r from kha neareel neighboring Btep (pur. 756)»orwith a skip from any
• me (par. 75c). Thus:
Ex.77.
C minor, throughout
augm. 2nd
(h) Tho other altered tones, in minor, should not be introduced chro-
matically, hut may appear only us suf>sti!ntiuns for the corresponding Steps;
beai approaohed, M usual, from the nearest neighboring Step. The intro-
duction with a leap is more rare, — excepting in the case of the tHiBOd «'>th
Step, which may be approached from any higher tone (par. 75c); and the
low. red 2nd Step, to which a skip may be made from either side, along the
line of an obvious chord. Thus:
Ex. 78.
+J fonts tlnwl 1 1 .11 ',,,,,1,
(mil) thus)
C-miuor, throughout,
(all good)
Only as ofautgM of key (Chap. XV).
I—
8O. Ah in major (par. 76 a), the raised Steps are resolved upward, the
lowered Stops downward, — generally to the adjacent Step. A few excep-
tions are possible, as seen in the following:
Ex.79.
*
-fl * *+** $ W --J y*
C-miuor, throughout
Eicri.ti.iii.il.
(only ilium
(par. 70 c)
(par. 3Sb ) II
good
IM.IU'ISKS IN MKLODY WIUTINU.
57
For general illustration :
1. AU'gro.
Bz.
i
f
*— = 1 1 1 1 w — (-
S
■' i
Hmtiioven.
*
II
l U' ' T I '
Bektuovkn.
Mendelssohn.
P^ ^-kUHtL #=^M=^g
1 I
J]
Mendelssohn.
4+ 4 +
rMH*-^:
„ .ft •#-• /change of key\ .
E-minor ." { pir. 81. ) E-minor.
• This b flat is a non essential embellishing tone.
See also, Ex. 64, No 2 (Bb in 2nd measure, FJ in 7th measure)
—fr
LESSON IS.
A number of 4 and 8-measure melodies, in Minor, with occasional in-
flected Steps. Review par. 39 ; par. 77 , and a// the directions given in
Lesson 14.
. KH IN ill LuDY-WlUTXNd.
CHAPTER xv.
MODULATION. OB CHANGES OF KEY.
HI. A melody may be OOnduoted sway from the line of its own scale,
Into tlmt of mbm other key. This effects ;i Bo-called Modulation.
The cbango of sonic may l>e permanent, or it may be only temporary.
In the tir.st ease, the melody, after pausing orer into tlie new key, makes its
perfect eadenoe npon the Tonic of the latter. (See "Tomb-Bklaxioks,''*!]
of Lessons 88 and 89.) When, on the other hand, the modulation is tem-
porary (or transient, as it is called), the melody follows the line of the new
wale only for B time (■ few bents), and thru returns to the Original key.
(See "Tone-Relations," nil of Lesson 40.)
H'2. BUUI I. — The original scale should bo exchanged only for that
of a Mrf.ratotaf bay. Of these there are live, namely: one with the mum
signature, two with the next higher, and two with the next lower signature
(i. e. oue sharp more or less, or oue flat more or less). Thus:
^a-minor (3-siguature).
jxG-»>aJor(3 " ).
From C-major p-signature), into ■ — e-minor (;J " ).
JV, F-major {} " ). ]
*s d-minor (> " ).
^ A-major (3$-signature).
(^E-major (4$ " ).
Or: from f^-minor (3#-signature), into — <^-ininor (4$ " ).
K.l). niil j„r (38 " ).
Mi -minor (2JJ " ).
^f-minor (-0 -signature).
(^ EP-major (3t> " ).
Or: from A!>-major (1^-signature), into — e-minor (8t? " ).
(NiD^-majoT(6t> " ).
V, U>-miuor (5t> " ).
N B. — Capital lottOTl indicate major 1>> ft ; small letters, minora.
83. Rule II. — The change of key may bo made at any point in the
Phrase, upon either an aooented or an unaccented beat. But it must, — at
pre .ut, — take place after one of the three tones which constitute the Tonic cJiord,
kXKltCISES IN ttfiLObY-WlirTlNG,
t e., either after the 1st, the 3rd, or the 5th Step of the momentary scale
(namely, the Inactive steps, par. 5). Thus:
Ex. 81.
C major
^ or:
^ into citlior one n * *"
ST of th« five next __ II C C=
-^ relat«5il koyn — ff- 1 ^- I-
C-iuujor.
-* * v ^t mtiniext — Q~3 1~ I -| ^ mton»xt- — n
C-major.
84. Rule III. — The deflection of the melody into the desired scale
may, — after reaching one of the Inactive tones indicated in Rule II, — be
effected by passing through any one of the five tones which constitute the chord
of the Dominaut-9th, i. e., either the 5th, 7th, 2nd, 4th, or Gth Scale-steps of
the desired key; — in other words, an entrance may be effected into the de-
sired key through any other than its 1st and 3rd Scale-steps. (Even these may
be used, as will bo seen in time; but not at present.)
The most powerful of these "modulatory tones" is the 7th Scale-step
(the so-called Leading-tone) ; still, all five are equally adequate, if properly
approached and properly treated.
85. (a) If possible, the last tone of the first key (one of the Inactive
Steps given in Rule II) should be transformed mentally into a Scale-step of the
prospective key. The melody then runs on, from the footing thus secured in
the new scale, in exact accordance with former rules. For illustration:
1. C-maj. -
Ex. 82 A.
*=F
=t=
m
3. C-maj.
3
IB
3S
3. C-niaj.
m
— >-*-
^m
(b) The most satisfactory result is gained (as far as the melody itself is
concerned) by using, as soon as the new key is entered, a tone, or a group of
tones, which indicates very distinctly the Dominant harmony of the key,—
EXKKCIM.; IS MI.I.ol'Y WKIIINO.
bo that tht> fiWdfag twin <>r som«> Othet fcOM '/'■'/ ttisti>i<>h, introduced. Ex. 82A,
No. l, would be more definite thus:
Is. B2E
bffn i i"n I'"-
good, ibnai
pOMibl*(Sz. IJ
E-*s
III
H A.
80. If this montal transformation (pur. 85a) is not possible: that is, if
thf lust tone of one scale dou not btiong t<> t/f coating ivy, then a chromatic
progression will need to be made, at that point, — by simply inserting an
accidental (see par. 73, N. B.). Thus:
S3
3
-jp
87. (a) If such a chromatic movement be necessary, it should be fore-
«een, and properly approached, i. e., in the corresponding direction. Thus:
Ex.84.-
$
Not**
e«wxl.
Uiua:
i I . — r
* t7 ^fl
(b) Or, the chromatic progression may be prepared by a wide leap from
the opposite side, involving a change of direction, according to par. 2G.
Thus:
C 1 C — i
k 85|| e^^^ ^(r^ 7l| 5^-H
IN MELODY-WIUTINO.
61
xc; Or, finally, the chromatic inflection may be avoided, in the melody
itself, by moving step-wise in the opposite direction. This involves the as-
sumption of a Diminished-7th chord (i. e., the Incomplete Dominant-9th, in
its minor form), — where the new key begins; and implies that the chromatic
tone is taken up in some other part of the harmonic body. Thus:
(comp Ex. 84-2)
For general illustration (capitals, major; small letters, minor):
1. Moderate Bach.
Ex.87.
$
teB^j-^' q^if -^-^z^ f
*=T
3. Allegretto.
-J-y^-^-^
m
3-zlz
-A
M-
t*±#
■f-f-^r-
J G_
(par. 88)
3. Allegretto.
mf ¥^^^m ^ ^u t±^
(par. 88) Beethoven.
4=. Allegro. (par. 87 a) ^ ^ i. «■ A
tsffii
3 1
_ G a-
88. Whether the foreign tones in a melody are merely inflected Scale-
steps (i. e. altered tones), or the indicators of Modulation (i. e., change of
entire scale, into that of another key), depends
(1) Partly upon the location of the foreign tone in the prevailing key;
for in order to serve as altered Step, it must conform to the lists given for
major and minor in Exs. 66 and 76. But,
(2) It also depends, much more largely (very often entirely^upon the
IN MKK<»I>Y-WRITIN(».
option of tin- OOmpOMT, who, in the majority ol OBOea, niuy treat the foreign
lOOe, i" kit h-irmimi; ■ttioit, either M in< nin-iitary inllectiou i without Abandon-
lag the key), or an a modulatory tone (pnning on into the ooReaponding
m Mali).
lesson in.
A nnmbei o! 4-meaanrc melodies In Phrase-form, beginning alternately
in major and minor, with one [permanent] modulation in each, Into tome
oext-related key, oloaing with the perfect oadenoe upon the Tonio of the
new key. Ex. B6, No, ~. may serve ai a genera] model. Erery Bpeciee of
afeaaure, from 8/8 to 12/8; the rhythm freely diversified. An occasional
altered Stop may bo introduced.
CHAPTER XVI.
MODULATION, CONTINUED.
Hi). The process of modulation is precisely tho same for trantiemi
changes of key, as for tho permanent ones illustrated in tho preceding
lesson.
(a) In phrases in the smaller varieties of Measure, only one transient
modulation is feasible, as a rule; i. e., the melody passes soon into ono of
the five next-related keys, and, after a few beats, returns and closes upon
tho Tonic of the original key. Thus:
Ex.88.
3. AUtgretto.
s
(b) In the larger species of Measure (0/8, 9/8, 12/8), two or more tran-
sient modulations may be made in one phraae; only, however, amaug tho
BXBBOISXS IN JIKMiDV-WltlTTNO.
5 next-related .Keys of tho original scale, anil, in each case, returning to the
latter and cadencing upon its Tonic, as usual. Thus:
Ex.
1. Allegretto.
py
il?» *"V. *
Beethoven.
(par 02)
t=F
*
TT
JLl F-
J£E fc^g I=fl
a. Allegretto.
5z±l
j^==*— H^-l^ # y *— L # ^ J2 H
LESSON 17.
A number of 4-nieasure melodies in Phrase-form:
A. In the smaller species of Measure, with one transient modulation,
and return (par. 89 a).
I?. In larger Measures, with two or more transient modulations, and
return (par. *9b).
CHAPTER XVII.
MODULATION, PERIOD-FORMS.
OO. Changes of key may occur in the Period-form, at any point in
either Phrase; but they are likely to have especial bearing upon the semi-
cadence, which may be made upon either one of the three tones of the Tonic
Triad (Steps 1, 3 or 5) of a next-related key.
The best and most common keys selected for the semicadence are,
The Dominant key (one sharp more, or one flat less, than the
original signature); and
The Relative key (the same signature).
The Dominant key is particularly appropriate for the semicadence of
a Period beginning in major; the Relative key for one beginning in minor:
S MI I.i»IiY-WlimNCl.
though boUl urt< possible faf either DB0d6| Mid other next-related keys also.
Tin' most unusual is u MOniOftdttHM m the Sulnlonnnant key (OBfl Hat more,
Or one sharp less, th;m the original signature). Pot illustration :
1. "
All!'
ii U Anlocixlciit.
J B-
Hi =V:
m «
£££
^SCS
(overUppinR Scal»-
■ . * i — * -\—g ~* - — H
lines ; «eo par. 03)
During the Consequent Phrase any transient modulations may bo made,
but the final cadence must fall upon the Tonic of the original key.
LESSON 18.
A number of 8-measuro melodies in Period-form, according to the
directions given in Chapters VII and IX, containing modulations (and
occasional altered Steps) as explained above. Every species of Measure;
major and minor beginning, alternately.
EXERCISES IN MEI,ODY-WIUTINQ.
n
CHAPTER XVIII.
MODULATION, CHROMATIC.
91. The change of key may be effected contrary to Rule II (par. 83),—
namely, after other than the Inactive 1st, 3rd or 5th Steps of the key, — on
condition
That the melody progress chromatically, from the Step chosen to
close the first key, into a proper tone of the desired key (Rule III,
par. 84). Thus:
!• . , Beethoven.
Ex. 91. EifeEE:
s
-*—*
Beethovkn.
3.
eft*
3ESJ
o ->-
^£^a
4. .4 llegro.
$E3^
[^^l^gHHi
-*—l
j=£ = ^
Bk.
fi. Jlndanfe.
MENI>EL880HN.
i<\ w 1.1 nsa.
LESSON l'J.
A number of 1 and S-measun> melodies, illustrating this devico of chro-
matic modulation. Begin in major and minor ■Uomatnlj; all species of
If encore (9 l up to U - .
CHAPTER XIX.
OVERLAPPINa SCALE-LINI'.s
99. ( lensn] exoeptioni to the three rnlei <>f modulation given in Chap-
ter XV (especially II end ill) may be justified by mentally transforming ■
oertain tone or tone* oi one key (in> matter which icale-etepa they repre*
sent) into aome planaible Btep <>r Step*, if possible into more urgent and
f tli.- d.'sir.'d next-related key. and tln-n eontinning slong
tln« new lino, withont the formal observance of strict rules <'f modulation.
Tliis may even apply to somo more distant key, if melodic conditions are
favorable.
!>;*. Sm-li overlapping of scales,— a vory common, but moro difficult
and ezoeptiona] method of modulation, — repr oson ta the application of par.
a broader sense, and is based npon the general principle that a
el mge of hey may atwaye be effected at (<>r through) any tone that is common to
both heye eonoemed; — especislly when two or more such common tones appear
in succession, so that tlio lines of the keys overlap for a number of beats
(se.. Thii MgrMBMBt of Imj1_i.ii in frequently turned to account in
$u>>*tttutin>i the tppotiU modt (i. <•., niujur for iniiuir, or minor for major) of
the krv t<>w:irr illustration:
1. MUjro. (P»r Warms.
V
Ex. 98.
-h^-H-=^= > ;• I ;. I __-_-U
D major
-'i
(par 91)
£^E
B5
*=t
b-minor.
B in.ij.ir_
MK>t..MOHir.
>
•_dl
LESSON 20.
A nnmbor of 4 and 8-mea.snre melodies, with modulations throngn
common tones (by overlapping scales), as explained above. At first into
next-related keys only. Then experiments may also be made with more
remoto keys. The general harmonic (chord) basis must bo kept well in
mind.
CHAPTER XX.
MODULATION IN SEQUENCES, AND AT CADENCES.
05. The broadest range of exceptional modulations is that afforded
(1) By sequential recurrences (par. 64); and
(2) By taking advantage of any sufficiently well-defined pause, or break
(or cadence), in the line of the melody. Sequential recurrences generally
involve, of themselves, such "breaks" in the melodic line,— at tho points
of contact. Tho " breaks, " or cadences, may, however, bo created by many
other means. For example:
\. Aiitjr.un. Umnmumma,
(sequence*-, All MXl r.-l. kcyt)
KXIRCIBES IN MELODY-WRITING.
Largo.
t^PjJsjji^feltgfefl
(sequences; keys remote)
4,. ^IJJ^ro.
J A_m_J a-
*&
I I I
It ■ I
* — *
^^s
(par. 64)
5. Allegro.
*
jr
g- v ±. U. «.. v^.)». „
: 1 1
^=F=]
s=t
(par. 66)
Beethoven.
S3
ac
-I r
*=F
EEgEj mr^^ l
(par. 91)
^i^^e
* — »
=«£
*=fc
fc=^
Bfefc^ ilig^BI^l
>
■
^ i fr---
?f ^V - v i
^U^jp
==£-
-L-cwI.
HM2-0
i alao, Ex. 91. No. 4; Ex. 92, Noh. 3 nud 4 ; Ex. 95, No». 4 and 5.
LESSON 21.
A number of 4 and 8-measure melodies, with modulations in sequences,
and at cadences or interruptions, as shown above. The transitions may be
made either into next-related or remote keys, at option; and the melodies
may close in any key, — best, however, upon the original Tonic. All species
of measure. The sequences, and all breaks in the line of the melody, must
be distinctly defined.
A few melodies may finally bo made, extending beyond the regular 4. or
8-measure dimension (5, G.--9, 10, 12 measures in length).
CHAPTER XXI.
CHROMATIC MELODY.
9G. The principle of chromatic succession enunciated in par. 91 may be
extended to a longer series of chromatic tones, — generally in similar direc-
tion. Such chromatic lines may represent a succession of brief and abrupt
changes of key; or, as is far more likely, they may embody simply the prin-
ciple of altered Stejjs (Chapters XIII and XIV).
BXSB0ISE8 IN MELODY-WH1TINO.
71
In the latter case, though they assert themselves (by their tdme-varties)
as essential tones, they prove to be, in reality, no more than intermediate
tones, inserted between the tones of certain chord-lines in such a manner as
not to overpower the impression of tho prevailing key. For illustration:
1. Allegro. _________________
T? • I k •—*• f 1 — ^ 1 rH 1 r—
fc)x. 95.
(x raised Scale-steps.)
Mekdblbbohx.
^^Fgg^E pp ^fe
T=F
3. AUegr
0.
ffer-
(Ex. 10G)
Etefe^?
=tfn
— £Tj—
f-- — f > J ■
|pEE-c-
X
•~5_5
Lp—
i r i- '
-1 k-f-2-
I
tz^g- 8 — fr — rfr
F=t
^=1?!
J=t
I—-*
(modulations)
g C_
4. JVm«o.
(par. 95)
Mendelssohn.
m& & m&
-*? *- >?-'
* -^r
i
O. Allegretto.
(l,ar --l 8c) (par.95, a l80)
E|Mlp^gP#jg^^
7j obi arxnzxa
LESSON
A number of nn' r 19 meMOIM, with occasional continuous
ohroms -ions. The ohrom mail l briouslj essential,
tilth not less th:in u full Deal in value; ftnd, M ■ nil'-, tin- succession hhould
not extend beyond B or ('. tones,
CHAPTER XXII.
Tin: DOUBLE-PERIOD.
97. Tlio Double-period generally embraces 10 measures; that is, four
Phrases of four measures cadi, closing respectively with cadences in the
4th, sth, 13th ami 16th measures. Compare par. 50.
i>8. fa) The first of these is a light scmicadencc, and may be made
nj)on any St. tp of the original key, as no modulation is likely to occur
during the first Phrase of this longer design.
fb) The scrawl one is apt to be a perfect cadence, falling upon the
Tonic note of some next-related key, — best, as indicated in par. 90, the
Dominant key (most commonly in a major melody), or the Relative key
(usually in a minor melody); or perhaps the Relative of the Dominant; very
either the Sub-dominant or its Relative,
(c) The third one is again a light semicadence, and may fall upon any
tono of the Tonic Triad (Steps 1, 3 or 5) of that next-related key into which
tho melody may have boen conducted; for, during the third Phrase, modu-
lations may be freely mads among any of the next-related keys, — rarely to
remote keys. The best keys for this cadence are, either the Sub-dominant
or its Relative.
(d) The fourth Phrase may also modulate freely, for a measure or two,
but must then turn back definitely into the original scale, and must close,
naturally, with tho regular perfect cadence, upon the original key-note.
SM). (a) The designs given in Chapter VTT, in reference to parallel and
mtrasting construction (par. 52 and B8), must be closely followed in the
I h i!f of the Double-period (i. e., Phrases 3 and 4): at first, the whole
■ / PkraeeS must correspond (perhaps with a few slight ohanges) to Phrase
1; and the g re a ter part of Phrase 4 must pursue the line of Phrase 2, — until
the necessary difference of cadence asserts itself.
fb) Then, in each succeeding example, the parallelism is to be dimin-
ished gradually until, ultimately, the BOOOnd pair of Phrases differs entirely
EXERCISES IN MELODY-WIUTINQ.
715
from the melody of tho first pair (totally contrasting construction). For
illustration:
Ex. 96. bfe M
1. Andante tranquillo. (Strictly parallel construction )
1. 2. , 3.
t
4. v
* J-ZlJ 7 . > ,'
£=£&==§
E major, throughout.
(par. 58)
t532 g ^
si
10. 11. 12. 13 14.
Mkndklsbohn.
15. 16.
like 2.— -like 3.— 2 Iike 4 Z I like 5 -Z I like 6 Z ZS
J -N-
-0 „ '-<&-
3. Allegretto. (Partly parallel construction.)
tt 3=r=ft -ffri zzzazaz:
-B) #-
like Phrase 1-
PjA^Z.l^_ f
1 v #
Efp^^LE£b
9-*- -*-+ -y-f± -*T^- ~^"f~ r^~^ ^ ' 1
3. Lento. (Contrasting construction
1 1 1- 3=*
(Ex 10P) v
J-\- =1-5=1=*:
1 * *-F#-*-« — —
Bi2
t — 1 1 ' *-! -*- »— * — a — r-^ — ^_ ^ -pg^z^ zz^z :
P
1 i l -
t=t
^m
# — *— -*
h
l*.
74 • MKI.oDY WlUTINti.
LESSON 28.
A nninlxT nf ir.-inru.Mun- Dmilili' periods, according to the ibo?0 direr-
Hoaa, Bugfainfag in major md minor alternately; modnlnting ut option;
the prinetpd ipeaiei oi Ifea an 8 i. I i. I ft B/8, 8 I. ::_\ B/8).
The hiinnoniziition of thOM m&lodiea, after OOrreo ti on and approval bv
tho teacher, may bo undertaken bj pnpfll btiniliur with the process.
EXERCISES IN MEL.ODY-W1UTINQ. 75
DIVISION TWO.
UNESSENTIAL, OR EMBELLISHING, TONES.
CHAPTER XXIII.
DISTINCTION BETWEEN ESSENTIAL AND UNESSENTIAL
TONES.
100. Not all the tones in a melody need be essential, i. e., calling for
special consideration in the process of harmonization. Many tones may be,
and generally are, no more than unessential adjuncts of the principal (i. e. t
the essential or important) tones, which latter they merely serve either to
connect or to embellish.
Such embellishing tones have appeared in many of the foregoing illustrations, simply be-
cause their employment in composition is so common that but very lew examples could be found
in which they are absent.
The distinction between Essential and Unessential tones is determined
very largely by their length ; usually, a tone of the value of a full beat is a
principal or essential one; and, of two, three, or four quick tones that con-
stitute the subdivisions of a beat, one or more are almost certain to ha
unessential.
But this is only the general distinction. — the true one depending, afte*.
all, upon the relation of the tones, whether short or long, to the prevailing
chord-line. For illustration :
1. ( all essential) 3. (x unessential)
tiF
1. "l 1 I 1 J
Ex.97.Hfe=^t
*T
CI VI V I
This being the case, it follows, here again, that a melody must be de-
signed with strict regard to some harmonic basis, or subconscious chord-
concept. (Review pars. 15, 23, 38.) The tones which agree with the momen-
tary chord are the essential or harmonic tones; those which differ from it
KXKIM'IHEH IN KILODI-WBITINO,
■ eaantial embelUahing, or Inharmooia konea.
articulate. 1. ■ niflo.lv is eMJ t.> l.m inoi.i/.o.
Thus devised, or tLuB
THE SUSPENSION.
lOl. Hi i.k T. Any tone whirli proyrrsHtfi st ■
il fonn-
g rr ' i ' n p i f i f — ^
fr 1 -' 1 ' M r^ ' f 'i~ **i^^l
.-, M | i f
BOBUBUX.
tssjgEEfc:
5 -0
I 1 I
* '
..II
Original form
/,:; ^ EEESEZZg^gg^^gi^^
3^.
Ah
7. AIU.jto.
eIIJl
-m - * rV
Q-- ?-fa tJ
r&-
B«KTIIOVFN.
S.
Unoiunn.
f=^ ;-
"Tone-Relations," Lessons 57 and 58.
LESSON 24.
A. Take a numbrr of former 4 or 8-nieasure melodies, and embellish
then with occasional Suspensions, where convenient and effective, according
to the above directions and illustrations.
D. Invent a number of 4 and 8-measure melodies (major and minor
alternately) with special application of the Suspension. Use all ipeeiee of
ire, and modulate at option. The pupil must not only hear each tone
difttinotlj as he writes it, but must endeavor to realize tho chord-basis also
(i. o., tho harmonic accompaniment).
EXERCISES IN MELODY-WRITDJO.
CHAPTER XXIV.
THE ANTICIPATION.
103. Rule II.— Any essential tono in tho original (Bimple) melodic
concept, or any weighty tone, whether essential or not, may be anticipated
upon a fraction of the preceding beat,— usually a very brief fraction. Thus:
Ex. 101
Original form-
j_.u^^ =g=n
B-inajor
■
EX Kill : l IN Ml I "Li WIUT1NO.
r.. Al^ra
N. B. — This embellishment involves tone-repetition from one beat into the next, as
in the Suspension, and is often not distinguishable from the latter at all. The difference
lies solely in the purpose, or conception, of the writer, but may manifest itself clearly
through the following conditions:
(1) The Anticipation is generally a very short tone;
(2) It is not tied to the following repetition, but is re-struck;
(3) If embellishment by Anticipation, the second of the two similar tones will be the
essential one, and may progress in any manner; if embellishment by Suspen-
sion, the second tone will prove to be the unessential one, and must progress
step-wise. This, again, depends upon the chord-basis.
S«o also Ex. 5». No. 3; aud " Tonk-Relationh," Lesson 00.
LESSON 23.
A. A number of former, simple, melodies, to be embellished with
occasional Anticipations.
Ii. Now melodies, with Anticipations, — and an occasional Suspension.
IN MELODY-WIUTINO.
CHAPTER XXV.
THE PASSING-NOTE.
104. RtncE III. — Any skip of a third between two successive essential
(or weighty) tones in a melody, may be filled out, or reduced to step-wise
progression, by instating the intermediate scale-step as PaSftifig-note, Usu-
ally the Passing-note takes exactly half the value of the first tone, but it
may be less than this (rarely more) according to the desired rhythmic effect.
See also par. 102 c. For illustration :
Ex. 102.
1. Allegro.
as
#•£— =r
u
Original form.
p jfcit &t_,i- t f r j +* — = £ ] -. »_ | - j =^f4
SrilUBKRT,
Embellished with Passing-notes (X)-
B (Dominant 9th chord-
3. AUtgreHo.
^^§p^p
E&fe^
t- m ^.~.
MOZART.
S^EEg
^|SEJ^SEEB
n
in mki v n niriMi.
l <>.». Til.- Paeeing*note generally oooore, ai no In Um above illns-
tratifnie. Tiiwrti mi i (notion "f the beet, within tho beat or group
anted by the Aral tone, and, ooneeqnently, without dieplaoing tho
L tono of the original skip, Bnl it Si alao poaaible t<> defer the Pumb-
lng~note (L >• .. to ^liift it forward) ao thai it anoroeohei apon the beet of tho
■eoond tone, thne aeraming the aootnt$d location, and dividing the Telne, <>f
the lilt t«-r. The rhythmic remit li often muoh Improved by thii meana,
r rn unple:
awkward raytaai better:
-'i- ! m i r~f jj j i .j v |gg ii
Ex. 103.
1 (ri^iinl liuo-
onil). with unarmitcd
1 1 • • t . i
crab, with aeernttd
Pa i ring uotos.
i s £*i^^p|^^
orig. skip, good:
good:
possible:
{*. .Andanfe.
= ^
^fKNnr.r.fiBorrN.
^g
UiuJ.m rj f rf i c aa
LESSON 20.
A. A numhor of former melodies, to bo embellished with occasional
Passing-notes, where skips of a 3rd occur.
1$. Now melodies, 4 and 8 measures, major and minor alternately, in
Yariotu Bpeoiee <>f Measure, — with ooccuional Passing-notes, as shown above.
Suspensions, Anticipations., and other material of peat lessons must not bo
neglected.
KXJBRCISES IN MELODY-WHITINQ.
88
CHAPTER XXVI.
PASSING-NOTES, CONTINUED.
106. A skip of & fourth may bo filled out, similarly, by inserting the
two intermediate scale-steps successively, in the same direction.
The two connected passing-notes may be both unaccented (i. e., located
within the beat or rhythmic group of the first tone), or they may be disposed
in any other manner between the two essential tones, according to the de-
sired rhythmic effect. Compare par. 105, and par. 102c. For illustration:
Ex. 104.
better:
S
±=t
H
Original line
awkward :
X X
S
#=?=
*=F
Original line-
!=*=&
^s£
possible:
better:
Bkkthovek.
4. AUegro.
x y -*- x l ■■ -Li— —
5. AUegro.
-* — f
E3
i
j ; 7U rr=i
6. Andante. ■#-
^5
^
N
KXKJU'ISEiJ IX MKLODIWIUTma.
Mattes
See »Uo, Ex. 36, No. 17, first measure
107. Adjacent scale-steps may bo connected by the intermediate chro-
nvitv tone (when the space is a whole step). Such chromatic passing-notes
actually corroborate, in origin and purpose, the Altered scale-steps (Chapters
XIII Mad XIV), and are therefore more common in ascending, than in de-
scending, succession. They differ in effect from the Altered Steps, which are
0— rmtiel tones, in being more transient, und therefore obviously tmtumtttd.
For larger spaces, alternate diatonic and chromatic passing-notes niny
bo used in immediate succession in the same direction. For example:
Ex. 105.
•-■
=F1
Ah
Beethoven.
M^.
w
3. AUejro.
Mrxdklsbohx.
X
3. Allegro.
gfe
3=3
<"
Ji y l f .. w wn*i»jang
V.
4,. AUtgretto.
X (E x. 109) x
(Ex. Ill)
I I
1XBBC18ES rs MELODY-WKITINO.
Saim-Sakns.
Dbl.
See also Ex. 75, No. 7, measure 1.
108. As the fourth is the widest interval that can occnr between con-
tiguous chord-tones (namely, from the chord-fifth to the Root above), it
follows that a line of intermediate passing-notes, inserted between still
larger skips (5th, 6th, 7th or 8ve), can not consist exclusively of inharmonic
tones, but most contain one or more chord-tones, also. The effect of the wliole
conjunct group, however, will be that of unessential tones, especially in
swift successions; and as such they are to be regarded and treated. For
illustration (the * harmonic " passing-notes indicated by x in parenthesis):
Ex. 106.
Beethoven. 2. Allegro.
g^^^gfe
3. Yivace.
3 I^"
♦
fl) ft Fjri
•J * X (X)
— * — ^
X (X) X
-V —
K
■0-
1 — • —
— *-
— 0—
* :
OV-
Ifl BXKBClHia IN MEI/ODT-WUITINQ.
A. AUtyrttto
[l.V 2 - •^T]«£
[§/ :iiliL _- |i^£' ^=
(chromitic puaainc note*)
IV
AhL
109. The device of tone-repetition, employed throughout the foregoing
lessons, may bo applied even to passing-notes. Such repeated passing-notes
are best when they are of sufficient time-value, and importance, to be partly
"essential " in effect. Thus:
1. AlUgro.
Ex. 107.
ScnunKRT. 3. Andante eon moto.
(110b)
• L
e i-
3. AU° molte.
Rut.
n j jj- ^a
fe ^^^N
KXKHCISK8 IN MKIiODY-WJUTINO.
87
-4. Pruto
O. Allegro.
LESSON 27.
A. Former melodies, to be embellished with occasional passing-notes
tdiatonic, chromatic, and repeated), at skips of any size, but with strict
/egard to a sensible rhythmic result.
B. New melodies, with direct application of these passing-notes. The
material of former lessons must be remembered, and employed.
CHAPTER XXVII.
NEIGHBORING - NOTES.
110. (a) Rule TV. — Any essential tone in a simple melodic line, or a
weighty tone whether essential (harmonic) or not, may be embellished by
placing either its higher or its lower Neighbor be/ore it.
(b) Very frequently the essential tone precedes, as well as follows, the
neighboring-tone, thus constituting an embellishing group of three tones
(i. e. , the essential or principal tone and its recurrence, with the upper or
lower neighbor between ; — or, in other words, the neighbor inserted between
an ordinary tone-repetition).
(c) The group may assume almost any rhythmic form; either of the
three tones may occupy the accented fraction of a beat, and the values are
optional. But the simplest, and by far the most common form, is that
XXERCISM IN MFXODY-WmTTNO.
h whirh all three tones belong to tho sumo beat, or rhvthmio group.
Thun:
Ex. 108.
I
C VI
IV
- []±±\'^B\l l±i\ri_'\r^}3
tour — ctubvlllshod with iu-i^hbonn^ uutc» (o).
»wkw»rd rli yttim :
tono repetition, eiuucllmhc
irrej;. rhythm:
0=r
^g^Fpi
■ i
« ,
m
II
111. The difference between the Neighboring-note and the Passing-note is, that the
former turnt back into its own principal tone, while the latter passes on into another
essential tone. Compare Ex. 103, No. 1, with Ex. 108, carefully. In other words, the
embellishment with a neighboring-note involves only one essential or weighty tone; the
passing-note, on the contrary, always involves two different essential tones. The former
is therefore a local embellishment, the latter a progressive one.
1 1 12. Whether tho upper or tbe lower neighbor is to be used, depends
somewhat upon the location of the following tone in the original melodic line.
Tho rules are:
(1) If the formation of the group is to be Regular, the upper neighbor
is taken when the next tone lies below; and, vice versa, the lower neighbor
when the following tone lies higher; — or, in other words, that neighbor is
chosen which lies opposite the coming tone. In this way, the impetus
imparted to tho final tone in the group by its embellishing neighbor, carries
it naturally toward tho next tone. Thus:
Ex. 109.
detceudin;; lino— euib. with upper o. ascending lino— emu. with lower o.
EXERCISES IN MELODY-WMTIHO.
i$^m^^m^^^^^m
exceptional-
S3
^^^
Or (2), in a series of such groups, each may bo turned the same way,
irrespective of the direction into the next essential tone. In this case, some
of the groups will be Irregular, — but their irregularity is counteracted, as
usual, by "uniform recurrence" (par. 56a). For example:
Regular:
Ex. 110.
original line-
I—f-O-g—tJL* U P— ,-#- # -|__ I I
emuelliabnient-
Irregular, but uniform:
2. Vivace.
embellishment uniform
G-major.
D-major.
emb. regular-
u
MOZABT.
ife
i
M
KX*BCIH1CS IN MEIXUIT-WIUTINO.
4.. AU*fr:
M* -I' '-' '
■ I
r f L
Mi.r.AkT.
•,t^U
N. B. — In any case, tho rhythmic arrangement of such successive (or corresponding)
groups is almost certain to be uniform.
1 1.'5. Further, the noUUion of tho neighboring-notes is subject to the
following rules:
(1) The u}>per neighbor must always agree with the lino of the prevail-
ing scale. Thus:
???
Ex. 111.
^^^iP^g^SPB
Upper o, d» in C, K, G, lij. Also in e minor
Eb major and c, a, g-iuiuor. (low tied 7Ul Btep),
C-major, throughout.-
Aiimajor, throughout.
m^^m^ m^' ?^
c minor, throughout.
E major.
(2) The lower neighbor may also agree in notation with the lino of the
prevailing scale, and in melodies of a serious or stately character (or when
the neighboring note is long) it does so. But ordinarily, especially in
graceful or rapid melodies, the lower neighbor lies a half-step below its prin-
dpd Ume, irrespective of key; — excepting when the principal tone is tho 7th
EXIUIC1SES IN MELODY- WRITING.
«J1
scale-step (the Leading-tone), for which the lower whole step is almost always
chosen. Thus:
Ex. 112.
Probably thus in every key con-'
taining g, excepting Afr-iuajorv
where it is the Loading tone:
i {■ i II
,\b-
Soniewhat uncommon..
3. Allegro. >/
6+ (Ex.76)
g-niinor, throughout-
— ' — s
LESSON 28.
A. A number of simple melodies in uniform, rhythm (from the first five
lessons), to be embellished with 3-tone groups, as shown above.
They may be applied to an occasional single tone, in which case the
rhythmic effect must be guarded; if unaccented beats are broken, the rhythm
will be regular; if irregular, from any cause, the rhythm must be rectified
by "recurrence."
Or the groups may appear continuously, i. e., at each tone throughout
the melody, generally excepting the final (cadence) tone; this will constitute
a " Bunning part."
B. New melodies, 4 and 8 measures, in various species of Measure,
major and minor alternately, with special reference to the 3-tone group.
The material of former lessons must not be neglected.
M
IS UKl.oL>Y-\UUTING.
CHAPTER XXVIII.
HHEGHBOBXNG NOTES, CONTINUED.
114. Those, in a mum fundamental, wnbalHihing groups of three
tones inuy be nlttged to four, live, m\, or more tODM in many ways:
(1) By adding to the B-tOM group (either before or after) any tone
which belongs to the choril-linc of the MMBtttl tone. Thus:
1. F.uir tone croups?
i B — j— i J 1 11
jrdL
C I throu^lmut.
3. AlUyro.
ie^^^lsgllplii
orig. form-
(2 By adding a passing-note (before or after).
N.3. — Review par. Ill, in reference to the distinction between neighboring and
passing-note.*. And bear in mind, while studying these somewhat confusing forms, that
every neighboring-note must be preceded, as well as followed, by its principal tone
(par. 110 6).
For illustration.
1.
LRRCIBE3 IN MELODY-WRITINQ.
emb. In 4-tone group*.
X X
fc "^i ^^rif ^ i^g^f?^^^^
orig. tones i
-mm^^m
orig. tones
3. Allegro.
| 4 tone |
Bkkthoviw.
•A. Allegro.
Ffe&
B2£
f=^*|iT
/r ^ p
£ffi^FF
t=4^=3
I
(115)
(3) By inserting first one and then the otlier neighboring- note between
reiterations of their principal tone.
This will result, at first, in groups of at least five tones — which may
then be enlarged, precisely as shown above. Thus:
1. awkward rhythm
Ex. 115.
5-tone groups-
i
2. Allegro
Wbbkk.
•^ ZT- — ■ - _ nui i i I
5. Allegro.
m^^m
F
G. AlUgro.
IP^H
A3 I 1 -^._.^
t£
[A'^V :
(Ex. m»_ (Ey . , U)
x
Chopih.
=3:
J Jit*
j t 8 tone
S. AlUgro. (Ex. 113)
^j g^^ ^^ ^ ^ ^^^^ ^i
O. Allegro.
(Ex.114)
EXERCISES IN MEIiODT-WBITINO.
96
lO. Allegro.
later: o o o o o Chopin.
CJV-
(4) More rarely, by repetition of the neighboring-note (similar to par.
109). Thus:
Ex. 116,
1. Andante.
X X
N. B. SCIU'DKItT.
o o o o o o
f f m m m jES.
m
ft
4— s-
#—,-#-
^E^r
i— fc:-
P^ H
3. Allegro.
g^^ ^P^ ^P^
FJI-
X X
V-
I 1 1 I I H^ 3=x
^ -^^^J- ^-^ ^r i tr^r^- t
-fif-F
1
o o o o
m-L-U_Ld =fc=t
@
» T 7
IE
-o o-
^ &b=b
IN Ml I.«H)V-\VlUTINO.
LESSON 29.
A. A lew tarmac melodiM la uniform rhythm, to bo ftnballiahed with
these larger groups, either :it OOOasional single points, or throughout, as
indicated iii Um preceding lesson.
11. New melodies, with especial r ef erence to these forms of cmbel-
lithmeai
CHAPTER XXIX.
NEIGHBORING-NOTE AS APPOGGIATURA.
llf». The neighboring-note, instead of appearing thus ?)p(>re/m reitera-
tions of its principal ton<\ may, moreover, be placed simply hqfort the lat-
ter, — p rmst din g it only, as prefixed grace-note, and forming an embellishing
group of but A«0 tones (oompsre par. 110a and b). In this connection it is
Bailed an A p poggiatUTUt lta details are subject to the rules given in
Chapter XXVII.
(1) The rhythmic form, and the location, of the 2-tone group are op-
tional; but the appoggiatura is most commonly placed upon the aooented
fraction of the beat (like the suspension, or the accented passing-note, and,
like these, changing the original location of the essential tone by shifting it
forward); and the appoggiatura is quito frequently longer than its principal
tone. For example:
■mrfj j; | » irg ij
r?=*zt£
CH1IMltl.il
to lie
tnib. with AppOgg. MMMBtad-
9
unaccouted
Li in
2. AlUfro.
mm ^^ ^m m
later (accented App.)
s 4. AtUyro.
oris. lin«_
EXERCISES IN MELODY-WRITINQ.
97
f jg ^fel ^'^^ ^ ^rfei
5. Allegro.
original lino-
o^ °^~-*- °^s o
£ *- t. 3= tL *- t. *- r> °<
cmb. (unaccented A pp.)
Chopin.
^^^^ ^^ gte ss^ a
O. ftwto. (acc - App)
•7. Lento.
original line (38c)
fc f r p £b=S
emb. (unacc. App.)
e
i> J lJ 3 J=g= r ' >r U^ uU ^ — d
Schumann.
8. Moderate.
orig. line (38 c)-
IS Ml LOHY-WKITINO.
:*— #-Hf— ^^E
-^ Scill-MANH.
^ , [W O O
•» ^. H. H.
IV II' V IV
lO. Alltjro.
X T x
E v Ihraoghoat
MFHom/wonx.
iss i m m i .
11. (ronlinwitiwi of Kx. 10.',, Xo 5) l.rntn.
1 ', C^^3:fe^Vggg^^^ ^
Dt oris- lino.
iS^i^sss
*
±=t
12. A«r-7ro.
?
d^-tn
- '
' E
^
G-m^jor.
mod. rep.
(2) Tho choice between upper or lower neighboring-note, as appoggia-
tura, may be determined, primarily, by the rules given above;— i a., either
aooording to the direction into tho following essential tone (see Ex. 117,
tfoa, »'>, 7, 9 and 11); or in uniform figures, as in Ex. 117, Nos. 2 and S. But,
in practical composition, the utmost freedom is exercised in this choice.
Tn g e ner a l, the upper neighbor is the more common. The prreatest influence
rted by the location of the preceding tone; for instance:
EXEBCT8ES IN MF.TiODY-WRTTTNQ. 99
An upward movement (especially with a skip) is usually made to the
upper appoggiatura; and a downward progression to the lower one, — of the
following tone, of course. This simply corroborates the rule given in par.
28 a, and again in par. 75 c; i. e., the appoggiatura is best approached (from
any distance) in the direction opposite to that of its Resolution (its obligatory
step-wise progression into its principal tone). For illustration:
Ex. 118.
A.
^=t
or any of the;
—following—
boRt embellishort-
-thus, with upper-
neighbor :
essential tones.
: — ^ n
possible, but misleading.
essential tones-
I __i__J zi be8t thns. •with =r l === J^^E3
I —lower neighbor: * ^'n_|l , J r ~]
m
±
possible, but misleading:
33
m
&
This rule prevails almost throughout Ex. 117; the only exceptions occur
in No. 5 (second measure), and in No. 8 (second half of each measure).
(3) The notation of the appoggiatura is defined exactly according to the
rules given in par. 113 (Exs. Ill and 112).
(4) The presence of an appoggiatura justifies exceptions to the rule of
successive skips in the same direction, given in par. 31 (Ex. 25, Nos. 6, 11,
12, 13, 14). For example:
AndanU. Schubert.
Ex. 119.
£e=
^^m
See also Ex. 121, No. 5.
100
KXinCISEH IM MEI/ODT-WIUTTKQ.
LESSON 30.
A- A number of former molodioa, to bo embellished with tho appog-
giatnra, in 2-tone groups; cither at single points, or at each tone throughout
(in melodies of uniform rhythm).
B. Now melodies, 4 and 8 measures, major and minor alternately, in
various species of Measure,— with especial reference to this form of embel-
lishment. Former deviooa must bo borne in mind and omployed.
CHAPTER XXX.
DOUBLE-APPOGGIATURA
11(5. (a.) In a similar manner, and with similar, though much height-
en. •-l»ter:-frrf !
m
^=r
4—4-
^EEE
^
t&A
uuuicisKa is HELODT-wnmso.
^.u:l^ : -'>>~ ttda
rt i-
h. Any,
Choi or.
a «-r <>f Uipho IntepOMd neighboring-
nct4-s is InemnMd to thru, bj ratoning to tho Ant nppoggifttam Mom
p»««inK on Into kfai anM&tUl ton.-. TIiuh:
Kx. 128
tj ^=\3= ^ ^3 ^mm
EuentioJ tone— emb. with Triple appo^x
3. AlUgr
a I
o o o o
Original line
T^ l j ! " I ' I = = = ES ^feffgg:
♦ ;*» *. a*. 2 *.
3. .alkfrffto.
f^Hll
ii^s
C I-
S. AtUgro.
K---..C
-r— r-it^— T-j-r
Schubert.
, *
I h
O. AtUtjrtUo grazioto.
■" : '-\ U.
1
Original line-
5
EXERCISES IN MKIiODT-WIUTINO.
— , — r^*-
ioo
U*^
__ p — czco o_ ==t ^ * -o— *
S
E-m^jor.
mLf =0 ZirzZo — f-l i '^ t^T
>:Y WKiriNU.
.ft. AlUtr*
Hi initial liu.
\l PH-fU m i u v imm
l -O. The strict rulo of tho neighboring-note, as Men thronghont tho
pxeeeding ohepten, is, that it must befoBotoed By a ttep- wt$t Rt $o luH tm into
its prinfijml tone,— either Immediately, or after nwinging over into tho
oppoait • neighbor ol that principal tone.
(a) A peculiar, but quite oommon, exoeptfan to this rulo is, that the
wpper neighboring-note, after properly following its principal tone, may
lctj< down a 3rd. In other words, the vpper neighbor may iuterveuo be-
tweeo two principal tunes that represent a dmeending ttep^wite progression.
The remit il best when tho principal tones are both harmonic; but it is
applicable to any weighty tones, even when one, or each of them, is a pass-
ing-note.
This. — tho "Unresolved,"— neighboring-note is alwm/s unaccented, and
usually atari (liko the anticipation, which it most resembles in origin and
charact.-r). Thus:
Ex. 125.
CI V CI
Essential tones —
einb. with the Unresolved neighbor (uppor)-
2. AtUgro.
lk'^ '
m
u
•
I II
3. AXLtjra. (wo Er 123-2).
EXKRCISEH IN MKLODY-WIUTINQ.
107
Allegretto.
Emb. (later)
6. Adagio.
:fcfc
Beethoven.
m * i j i ■ i i . — *
3=^=?=^
Original lino-
f&J If a modulation is made during a step-wise descending melodio
passage which is to be embellished with the unresolved neighbor, the latter
must agree in notation with the scale of the following principal tone,— of
which, as above stated, it is properly speaking an anticipation. Thus:
1. Essential tones-
126."
*=t=F
m^mmsmm
a-minor-
or C-major-
2. Allegro.
Ex. 7G
Not l>5, unless tbo key remains Cora throughout.
J L...£_
I OS
■XSBCXSKM IS MKI.ODY WKiriNM.
rarely, this derioe i< reversed; i. s., the tower neighbor:
rt.nl between tie] I nee, Therolei oorrespond to t ho
Lng. Thus:
Ex. i:
1. Andantf
&±E S3SPH
Mo/.AKT.
b(7 V-
5. AXUqto.
Hatds.
-J
.- ;n
(d) When the rhythm is uniform, and the tempo rapid, as in Home of
the above illustrations, these unresolved neighbors may often (not always)
be analyzed as a Doublo-appoggiatura. Thus:
Ex. 128.
^^^^ a^i
UJ
LESSON 32.
A. A number of former simple melodies (including those of Lesson 24),
to be embellished with Suspensions with indirect Resolution; and with un«
resolved neighboring-notes, as shown above.
U. New melodies, with special reference to these embellishments.
KIZBCI8ES IN liELODY-WTUTIUO.
100
CHAPTER XXXII.
EVOLUTION OF MELODIC GERMS.
121. The application of these various classes of embellishments is apt,
in many cases, to be determined upon some broader basis than the general
purpose of ornamenting individual tones of a simple melodic line.
The development or evolution of an elaborate melodic figure, or com-
plete Phrase, out of two or three fundamental tones, by miscellaneous
methods of embellishment and repetition, has been repeatedly exhibited in
the foregoing examples; and while such products are not, as a rule, in
advanced musical thought, the result of deliberate intention, they are none
the less surely thus simple in their original germinal form, and must have
existed in this simple form in the firmly established melodic habits of the
composer, — even when they appear to have issued spontaneously from his
mind, directly, in their complete ornate and characteristic shape.
This process of melodic evolution is so natural and so wholesome, and
the evidences of its presence in classic melodic thought are so clear, so posi-
tive and so instructive, that its systematic exercise is of vital importance to
the student who aims to acquire habits of healthy and facile melodic
conduct.
The only rules are: that the fundamental tones (the germ) shall form a
perfectly f/udtless and natural melodic figure, at least free from extreme
irregularities; and that the manipulation of it into an ornate Phrase shall
be coherent, smooth, well-balanced (as concerns the rhythmic and syntactic
exterior), and free from eccentricity.
122. Hence, an ornate melodic sentence may conceal (perhaps so clev-
erly that its presence may scarcely be heard, — though it is certain to be
felt) a part of the line of the scale; or the simplest elements of the Tonic
chord, or Dominant chords.
The following illustrations are to be very studiously examined and
analyzed:
Ex.129.
1. Germ (chord-line):
Bbi_
AUtgretto.
=&£
melodic evolntion.
HI
KXKIKI -IVi in Mri.«>nT-wnnTso.
l^ppg'-'^^hHI
ii. <;.Tm (chonl line):
?■ it -i'T:=n=i= = i'iii
melodic evoliitiou-
3. Germ (chord linc-n): Allegro.
Tr0i&\£
, . • ■
IV I melodic form.
4. Gorm* (chord line*):
r^ r^ s
3
- *
2=U
g^ y^p-^P^ ^^a ^
melodic form-
IN MELODY-WRITING.
Ill
v f'J».r W J
^m^
fu' J J
j_ui
«. Adagio.
Germ :
fJLbM > 1 ]
— i-
i
-i—
J ■
j
F+-
1
-4-
— .
h^^4- 1—
mel. form:-jp-.-^- -g-
— A—
in
7
— i
f
~r
-0—
ktif
f
T
-¥-l
fci
f .J- f .1
m
4— A— A ,4
T-gg-
T m ^S r m
7. Germ (chiefly scale-line):
&E^
-» e>
AUegro.
fe - 4— I-
»3L
1 I 1 r r
Bkbthovrn.
Bee
8. Germ (complete scale)
Allegro.
-I— I- I
1^8
119
M IN MKl.nl.Y « KlIINW
i» C.riu (. hi. Hy »c*Jr lin.-i
t ft • -» :
^ir^
$
AU/jr):
AlUjro
¥■>
■ s*
t— — # I i ■ -4-- ta
— otcz|-V-^ > -
—
Hfc
1 ^». i Itrms (scale and chord):
*'2
* J, ' J hj g = ^ =a= +T =H
* «
KXEKCI8ES IK MKLODY-WIUTIKO.
113
Allegro mmi.
§
&
ss
fes^E9g|i=E=rI
SCHUBBBT
*
si
13. Germs:
chord
irr-y
^l^^l^=M ±=
Allegro.
&7 r
S=t
Ejfazz^l
t=*=t=F
Melodic form (expanded to double measures).
h»
^^^^ a^g^^^^ pn
14,. Germ (descending and ascending 3rds):
fc=t
:c
e=e
F=t=ft
K"-^
Alfe^ro.
^ ^-I-tH^ ^^^^N^^^
114
EXERCISES IS MPLol'YWKITINO.
I".
4 1 J
' . ' ' ,
r f
— ■-- — — 7 I i
V z '
* *
r_L f f 7 f
n;. «;i^rrfro.
"J
J li d- Jy
J=»
(96)
It
4 jP^ i jKH^=Mf°5^ i i
~T
'r " _lf f~ r . r f
" i
17. AtttgrtUo.
^ -|.;^S| 3^S% g ^5^
-p- . Male p " »
--I
. J-
'- —
I I
123. Such simple germs, derived directly from the scale, or from some
primary chord-line, are, — like the soil, — common property, open to the use
of all humanity.
EXEItCISKS IN MELODY-WRITING.
115
In the choice of these germs no originality can bo exercised, or proven, —
merely common souse.
But their manipulation,— VtR method, and the extent, of their embel-
lishment and development,— exhibits the individuality of the cr/mposer, the
particular quality and calibro of his innate mnsieal susceptibility, or the
degree of discrimination and "taste" that he has acquired by persistent and
thorough exercise of such established technical methods as those expounded
in the present treatise, — that may possibly lead onward into yet undiscovered
modes of treatment.
This is one of the most obvious and natural phases of the apparently
occult, but in reality very manifest, Science of Originality.
LESSON 33.
The evolution of complete, ornate and characteristic, melodic sentences,
4, 8, 12 or 16 measures in length (major and minor alternately, and in all
species of Measure), out of simple germs, imitating the melodic and rhyth-
mic methods shown in the above example.
CHAPTER XXXIII.
MELODIC EVOLUTION, CONTINUED.
124. Further, the application of these embellishing processes may
serve to disguise, or to heighten the effect of, Eepetitions, Sequences, and
Recurrences of former figures or phrases in general. Review the text of
Chapters X and XI; see Ex. 100, No. 3; Ex. 106, No. 4; Ex. 115, No. 10;
and examine and analyze the following, thoroughly:
Ex. 130
modified rrpvtition-
116
l
i:xn:nsK.s is MKLODY-wnrriNO.
mod. rvMtitioD
^- J 1 4 ^j=B^M^=d
naJ uipI.mIu- Una
niixlilW reoiirr.-no>
I ClIOPIH.
• t. Allfjro modrratn
(120a)
._,_,..-. _.......;. ,. ° -» mod repetition
original melodlo lino
repetitio
Bin 1 1 • i •.- 1; >■ .
'-,'-' if' » %fg 3 r~
-*~2 rl
C Aliejro mof/o.
^^
: F=F
# ~~~~ *
original melodic phrase..
-*? • ■*- —
t p^^^^^m^s^ m
modified recnrrenco-
C. AlUgretto.
(120a)
FJ. original phraso.
&
_ 7
inodifiod recurrence.
KXBKCISES IN MELODT-WIUTINO.
117
-again— a 1-
Jater — L. JT.
3ZE^
«> # -{ **
* »
mmm
modified recurrouce.
CHoriN.
7. Adagio.
Ej t^g^ffif^^ j^p
modified recurrence.
r^inr-
3 , 3
f^^a^^ fesspg^ g
.: pliiaao.
P Ut«r:--i -''00 '
n ^ . _-
' '0tfJt=}*±&
iniKlill.il m UWM
•«.in>. 1 2
Q
ft- te *£ £#
a- I = ,- — =r-
inixlifi) r stanza of text. The simply mechanical
endeavor to follow and oonflrm, m oloeely m poaeible, khe rarying sbadai ol
pootio and proaodk (at dim1amatA»y) * t p iM||M| ol the given text, li calcu-
late,! to arouse and develop tlio Btndent'i individual sense of Bxpraaakm,
and prepare for its untraniiiieled operation in the domain of obtolutt (iustru-
neantal) nraaio.
l -\K The details of melodie afleeta, irhioh And their parallels in the
nn.liihitions of poetic erpr o aaion, may be deaeribed approximately m fol-
lowa:
(> <>>• }>,issian>, as
a rule, than diatonic (i. e., scale) successions, and usually in proportion to
their speed.
(d) The changes in force indicated by tretcendo and diminuendo, arouse
exactly similar impressions of increasing or decreasing volume or emphasis
of feeling; the extremes of fortissimo and />ionissimo indicate, respectively,
utmost power or HfloniW, and utmost gentleness or remoteness.
(e) Siuklen changes of force {nl>ruj>t forte, or piano effects) corroborate
swift, perhaps violent, impulses of em6tion; these may be emphasized by
simultaneous sndden changes of register or pitch, — i. e., wide skips, the
effect of winch, M stated at />, is similarly abrupt and vigorous.
(f) The musical sense of a tone is powerfully influenced by its location
and value in the rhythmic group. If it bo placed upon the acc en te d beat,
or if its time-value be increased, such musical meaning as it possesses
(absolute or comparative), is brought out with corresponding force. And,
on the other hand, its location upon an unac c e nt ed beat, or its contraction to
a brief time-value, diminishes the effect and value of its musical meaning.
(g) The definition of tonal meanings, and the bearing of the above upon
them, may be roughly stated thus:
The chord-root is p o w erfu l; the chord-third sweeter and more flexible;
the chord-fifth soft and tender. If placed upon the accented beats, or
lengthened, they impart these respective qualities to the entire rhythmic
group in which they occur.
The chord-7th and 9th, and the suspensions, are keen, conspicuous,
and even obtrusive (in proportion to the degree of their dissonance); if
accented, their effect is heightened; if prolonged, the effect of strain or ten-
EXEIICISE3 IN MELODY- WR1T1NO.
123
sion is created. Appoggiaturas aro similar, but usually still more pro-
nounced iu effect.
These, and other, distinctions may be tested iu the melodic examples
given in this book, some of which should be reviewed with special reference
to the quality of Expression.
130. The principal rules of vocal setting are:
I. That the rhythmic details in the melody should agree closely with
the prosodic effects of the text; i. e., accented syllables and important words
should be set to the comparatively accented, higher, or longer, tones; and,
vice versa, unaccented syllables and unimportant words should be set to
comparatively unaccented, lower, or shorter, tones.
II. That the emotional contents of the text should be corroborated, by
consistent employment of the distinctions of melodic expression above
explained.
III. That notes set to separate words or syllables must be detached, in
notation; while two or more notes set to one word or syllable must be con-
nected, either by beam, tie, or slur.
The following examples briefly illustrate these rules. The pupil may
find numerous others, in English Oratorios, Cantatas, Anthems and Songs
(i. e., composed originally to English words):
Ex.l31.FEi5i
1. Recitative; pathetic expression.
Moderate Largo.
mp ~= ' ~ZL P dim.
-n—0-
f-minor. Thy re - buke
ken hi* heart.
Ex. 132.
2. Allegro; joyous, vigorous expression.
f , cresc.
3. Andante; graceful expression
mp
133.
■L.X-*
^=P^ ^
charm - ing tight.
IM :N MI.UiHV V, lilMNU.
TlXTDX.
ml^0^Q\C: • r, .>lui
eAarm - tn^ tiyJU.
LESSON 35.
The melodio setting of linos, and of brief stanzas, from church hymn-
books; or from tbo Psalms and other parts of tho Bible; or from secular
poetic writings. At first, a few BZeroieei in Recitative form, i. e., not strictly
metrical. Afterwards, very numerous studies in metrical Phrase, Period, or
Double-period form.
After correction and approval by tho teacher, they may bo harmonized,
or provided with a simple instrumental accompaniment.
126
TABLE OF CONTENTS.
DIVISION ONE.
ESSENTIAL TONES.
page
Chapter I Majob. The Scale-link, Regular 5
First Primary Kule 5
The Four-measure Phrase 7
Chapter II The Major Scale-line, Exceptional 10
Chapter III The Chord-line 12
Second Primary Rule 12
Fundamental Harmonic Principles 13
Rules for Single Skips 15
Chapter IV The Chord-line, Continued. 19
Summary of Rules (par. 39) 24
Miscellaneous Illustrations (Ex. 36) 25
Chapter V Minor 28
Chapter VI Diversity of Rhythm, Regular 31
Chapter VII The Period-form 34
Chapter VIII Irregular Rhythm 36
Chapter IX Exceptional Semicadences 40
Chapter X Syntax of Melody 41
Repetition and Sequence, Exact 41
Chapter XI Syntax of Melody, Continued 44
Repetition and Sequence, Modified 44
Chapter XII Syntax of Melody, Continued 49
Application to the Period-form 49
Chapter XIII Altered Scale-steps, Major 51
Chapter XIV Altered Scale-steps, Minor 55
Chapter XV Modulation, or Changes of Key 58
Chapter XVI Modulation, Continued 62
Transient Modulations 62
126 I'AIW r. "|- I'o.VTKN is.
MM
Ciiai-ih. XVII. , .Monri.ATMN, OuMIUIW 63
AppliMtlOB to Pi n. ■• I form 63
ClIAI-TKK Will.. ■. I III. ..NUM. G5
('im-ir-i. \I\ M-iTivii HI 66
Overla]>]>i:iK BOftlt li&M G6
CiuiiEK XX Mom i An. is is BbQUBBOM, and at Cidincii 68
I'iim-teu XXI Chromatic Mr.h.nv 70
Chapter XXII The Duuule-pkkiod Form 72
DIVISION TWO.
UNESSENTIAL, OR EMBELLISHING, TONES.
Cbapter XXIII Definition or D lB T lHU T l OM hetween Essential and Uh-
RsSI.NTIAL Tf)NKS 75
Tho Suspension. 76
CHArrrn XXIV The Anticipation 79
QfUI ieii XXV The Passing-note (single) 81
Ciiimii XXVI The Passing note (successive) 83
Chromatic Pussing-note 84
Repeated Pseaing note 86
CHAPTER XXVII NBOHBOBXHO-NoTI* 87
Chapter XXVIII. . . .Nei.hihoi-.ino-notes, Continued 9'2
CHArTEIt XXIX Nl IGIUioUINO-NOTE AS APPOQC.LATURA 96
CHAPTER XXX DOITILE-APPOOOIATURA 100
Chapti i; XXXI Appoggiatura, Continued 105
Unresolved Neighboring-note 106
Chapter XXXII Evolution of Melodic Germs 109
Chapter XXXIII Melodic Evolution, Continued 11",
Disguised Recurrences 116
Chapter XXXIV. . . . Melodic Expression 121
Vocal Betting 122
14 DAY USE
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MUSIC LIBRARY
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^JTnMIIL
i a ii 4 C 1QQ7
1960
JAN 1 TOf
MAR 5 1963
U. C. BERKELEY
AUG 2 3 1963
MAY 3 1974
DEC 15 1981
REffD MUSIC
AUG 1 2 1982
2 4 «83
1
1 ' ' - I InlSSf^L L r^i!Sr«l.
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MT47.G6
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DATE DUE
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limn ii
